How do you define stage presence? The gap between language and stage presence

Stage expressiveness is actually how natural you are on the stage, whether you love the stage or not, in fact, in the various behaviors of your body, it must be expressed. As for stage expression, it means that the moment you stand on the stage, you can express all the thoughts you want to express in your heart, or what you want to express, through your body, which is stage expression.

Rhythmic. Dynamics.

Strong lyricism.

Virtual, symbolic.

Styling. Generally speaking, stage performance includes these aspects. Of course, excellent actors can do all of them, and for ordinary actors, being able to do more than three of them is considered a passing grade.

There are many ways to define stage performance, first of all, the performer must have a certain comprehensive strength, after all, strength is the premise of whether the performer can perform on the stage, and having a certain strength can give the audience a visual shock.

Secondly, it is the stage appeal of the performer, strength is something that can be accumulated over time, but the stage appeal and the self-confidence of the performer are innate.

Then the stage design, lighting, and stage design will affect the performer's stage performance.

I think the expressiveness of the stage is the appeal of the stage, is a person a good expressiveness of the stage? It is to see if he can infect the audience, let the audience drive the hole in, and then carry out the same enthusiasm and the same dedication, so that this person will have a good stage performance.

My feeling is that the stage performance is very simple, as long as you dare to express yourself on the stage, no matter how many people below you will not have stage fright, and when you have an accident or someone else's accident, you can solve the problem very well, you will perform very well, and you dare to perform.

I think stage performance is more reflected in an actor's self-confidence, as well as his control of the overall style of the stage, the interpretation of his own performance projects, and the control of emergencies.

I think that if you can fully infect the audience and bring the audience into your performance, then it proves that your stage performance is very good, and if you can dye a character very well, it will also let the audience see your emotional expression, which means that you are successful.

1. Facial expressions, some people may have little experience, so their facial expressions are stiff and look unnatural at first.

2. The stage is infectious, which can drive the atmosphere and attract the attention of the audience.

3. The ability to grasp the camera, this is mainly due to the fact that the shots of the men's and women's groups will jump from time to time.

4. Properly handle stage emergencies.

In the group performance, the stage performance of the individual can be highlighted the most. The person with strong stage performance will be the most prominent in the group, even if he is in the middle of 10,000 people, but he will be the most eye-catching and attractive one. In the event of an emergency, he will solve it without a trace.

1. The connotation of stage languageIn drama performance, stage language plays a very important role. Stage language is an important part of theatrical stage performance. Stage language is an important way of communication and expression in drama, which promotes the development of the plot, shapes the image of Peiju and models different people and slow things, and helps the transition of the plot.

The language in stage drama is different from the language of our daily communication, and the stage language has relatively high requirements for language skills, and it also has its own unique characteristics. To put it simply, stage language is an important tool for actors to create characters in theatrical performances, and it is also used to reflect the diverse personalities of characters. When performing, actors use stage language to create their own style of expression, creating a vivid and specific artistic image with distinctive characteristics.

Therefore, if an actor wants to perform a stage drama well, he must have a solid foundation in stage language, and be able to speak well on the stage, so that the audience accepts and applauds. 2. Characteristics of stage language (1) Language should have actionDrama is an art of action, which should be performed in a limited space and in a limited time to the actions of the characters in a wide audience, and create sharp conflicts through various language and physical actions, so as to promote the development of the plot in the drama and show the audience the ups and downs of the performance. Therefore, language must serve the plot, be subordinated to dramatic action, and have action.

The action of stage language lies in the fact that it can promote the development of stage drama performance. Every character in a theatrical performance should be made through language.

The biggest difference between stage plays and TV dramas is that the performance in film and television does not need to appear in an extremely exaggerated form, because there are cameras and directors who are grasping and recording the actions of the general direction, and the actors only need to interpret this expression in place.

However, stage plays, dramas, and operas, which do not have cameras, have greatly improved the actor's awareness of this feeling in the current performance. Exaggerated tones, large movements, and even extremely rich expressions are very important. Because you're never just performing for the audience in the first row, you need to make the people behind you happy or angry.

Laughing and smiling, he raised his head, grinned widely, and was heartbroken when he cried and cried, and he was still very demanding about body language.

A good stage actor is a qualified film and television actor, but a film and television actor needs to relearn when he appears in a stage play. Like opera actors, due to their unique stylized content (that is, body language), most film and television directors can't understand their inevitable existence and the angle of arrest, so in most TV opera works, we often watch boring.

Like Ge Xiansheng, there are many young and middle-aged actors now, all of whom have stood up from stage plays. Because their understanding of expressions is already too good and too good to enter the play, all the director needs is to remind them how to reduce these overly exaggerated expressions and body movements.

I hope what I've said will help you, and good luck (whether you act or not) is a good sign.

Penetrate the tangible shell of the dance, drill in, go in and in, there is a long and deep staircase, and when you feel that the mountain is gradually closing and getting closer to the bottom, you must have dissolved into nothing. You don't have it, you don't have a long rank, and only it seems to be everywhere. When you can't find the bottom of the long ladder and you can't find yourself, you become the same as the kind of tremor that is omnipresent but that is unexplainable, inexplicable, non-inexplicable, unexplained, and only originates from the spirituality of human life and is with it.

It is weak, strong, soft, rigid, relaxed, open, astringent, and smooth. It's the groove.

In the process of vocal music teaching, the author found that there is a common phenomenon among college students majoring in singing, that is, students usually do not pay attention to the grasp of stage performance in the learning process. The reason for this is that teachers only pay attention to the improvement and improvement of students' singing skills in the teaching process, while ignoring students' stage performance. Most students also think that stage performance is relatively secondary to singing skills, and with solid singing skills and good vocal conditions, they will sing well.

As everyone knows, a successful vocal work is not just a simple accumulation of voices, but a combination of classic and excellent vocal works, solid singing skills of actors, good vocal conditions, superior stage performance, tacit accompaniment, including well-designed lighting, sound, and even good audience quality. The ultimate goal of vocal music teaching is for students to go to the stage, control the stage, and impress the audience with their singing. Therefore, vocal music teachers in colleges and universities should improve students' stage performance through effective teaching methods in the teaching process, so that they can become qualified performers.

So what can we do to improve students' stage presence? In the process of teaching practice, the author summarizes some experiences for all vocal music educators according to the general characteristics of vocal music teaching and contemporary college vocal music students. 1. Based on guiding students to have a deep understanding of the connotation of the work, and taking students' quiet expression as the core, improve students' stage performance.

The core content of the expressiveness of any successful vocal work is the singer's interpretation and expression of the emotions of the work itself, no matter how excellent the singing skills or good innate conditions are for the interpretation and expression of the emotions of the work. If we can't organically combine our own emotions with the emotions to be expressed in the work in singing, we can't release our understanding of the work in the singing.

Stage lighting and rendering effects provide high expressiveness.

Hello classmates.

1. The proposer and advocate of the experiential school is Stanislavsky, a famous actor, director, theater educator and theorist in the former Soviet Union, and a reformer of stage art. The Stanislavsky system is only a systematic and scientific exposition of the laws of the performing arts. The essence of the Si system is to embody the "nature" of human beings

The actor is required not to seem to exist on the stage, but to really exist on the stage, not to perform, but to live. An actor should always be a living person on the stage, abide by the logic and organic laws of life, and sincerely feel, think, and act in the prescribed situation.

For example, when you play an old man on stage, you can't really be an old man, then you can only observe and understand an old man from life. Observe his movements, such as his sluggish body, his eyes can't see clearly, his ears can't hear clearly, or his joints are not sensitive, to understand how his physical problems are formed, whether they are simply formed by age or overfatigue when he was young, what his temperament is like, why it is like this is the environment in which he grew up or what he has experienced. After understanding this, you can replace yourself with the identity of this old man, experience and feel everything about him, and then interpret it with feeling, rather than simply imitating this old man's actions.

This is Stanislavsky's experiential performance system.

2. Let's talk about the method school again, the method school comes from the experience school, but it is a little different from the experience school, that is, the method school will use some small techniques to replace the character's emotions with similar emotions to achieve the effect of performance, but the experience school is not allowed to do this.

For example, in the play that needs to show the death of both parents, the experiential school requires us to imagine and deeply feel this emotion, but the methodism is to let us replace and deepen the grief of the death of our closer people into this emotional state, so as to complete the process of the performance and the expression of emotions. Such methods and techniques are often used in film and television creation to express characters.

3. Finally, let's talk about expressionism, which is to first build a "character image" in the heart, and then imitate this character image. Expressionism emphasizes the imitation of the characters, and then embodies the characters, the expressionists are standing outside the characters to examine and grasp the characters, and then interpret the characters, unlike the experiential school, which completely replaces their own body and mind into the characters they have created to interpret the characters with feelings.