Fu Dalong challenges the Peking Opera male to play “God”
Talk to the guests: Fu Dalong (actor)
Talk to reporter: Li Wei
“God is also a god!” After watching the movie “Entering the Capital City”, Yu Lan, a famous Peking Opera artist, wrote such a four-character evaluation in the circle of friends for the performance of Fu Dalong. Not only her, but almost all the viewers who have seen this show have been deeply impressed by the male Dan Yue Ji played by Fu Dalong. He also won the most popular media actor award at the Shanghai Film Festival.
Fu Dalong is a recognized acting school, but the performance in “Going to Beijing” is more difficult than any previous work. He is quite masculine and wants to play a male artist in the period of “Hui Ban Jin Jing”. This alone has made many actors look daunting. And he combined the softness of a generation of famous Taiwanese and the staunch of the audience, and vividly interpreted the pursuit of the old-generation artist “playing more than heaven.” What is even more unexpected is that more than half of the characters in this role are on the stage. Fu Dalong did not use substitutes and insisted on completing all the Peking Opera arias.
In order to quickly approach the characters in the only three months of shooting, Fu Dalong lost more than ten kilograms in the short term. In addition to eating and sleeping, he devoted all his time to the practice room. Although the final presentation is perfect, he still feels far from enough. In an interview with Beijing Evening News, Fu Dalong said: “The character of Yue Jiu is like a hundred years old, but only give me three months. How can I brew a hundred years of wine? I can only describe one. So this play is Let me have a good time.”
The moment I took off the costume, I cried.
Reporter: When I received the script for “Entering Beijing”, what is the most attractive place for you?
Fu Dalong: It must be a drama. These dramas are younger, there are not many operas being written, and there are fewer stage writings, including everyone’s mention of “Farewell My Concubine”. To be honest, the “Entering the Capital City” show on the stage of the opera is something I have not seen before. of. There are dozens of operas involved in the film, and there are a large number of scenes on the stage of the opera. There are four or five dramas in the Dan dynasty Yue Ji, which is played by the light, and it belongs to different roles of the horns, because the horns are also divided into Huadan, Mengmendan, Wudan, Gudan, Tsing Yi… The type and expression of each play of Yue Jiu are different. This play is a huge challenge for me. It contains two major forms of performance, one is opera and the other is modern performance. There are many different kinds of dramas. At the same time, this is also the place that attracts me the most.
Reporter: When you were a child, you learned Peking Opera. Was it a request from the family? Still out of interest?
Fu Dalong: At that time, it was an interest. Suddenly, I liked it a little. I learned the Beijing Opera’s face and children’s class for three or four years at the age of eleven. It’s weird, and suddenly I don’t like it anymore, I don’t listen anymore. So when more than 30 years have passed, when the movie “Going into Beijing” finds me, there will be a little bit of movement. The teacher who taught me when I was a child died at the age of 50 because of a stage accident. Therefore, when I receive this drama, I will think of the teacher. I think it should be like a movie that is like a drama theme.
Reporter: Although Yue Jiu, who you played this time, is a fictional character, he is actually a microcosm of the male artist in the period of “Hui Ban Jin Jing”. What kind of homework did you do for this purpose, and how to give the character a sense of history?
Fu Dalong: First of all, he is a dramatist in that historical period. This is a layer of performance. His body, vocals, costumes, pies and even social status are completely different from today’s opera actors. So the problem I faced was to perform the old-fashioned, old-fashioned dramatists of that era who were acting like the old ones. I also consulted the drama teacher of the crew and some of the predecessors of the opera world. For example, a scene that sings particularly brightly today is a kind of performance that is very simple. The discussion and study of these details is very enjoyable. I have been learning from the group to the killing every day, but the addiction has not finished, because it is too deep.
How to play such a character, there is no other way, only practice, every day in addition to eating and sleeping are practicing, only this way can experience a real drama actor. In fact, I didn’t feel that I played well because I didn’t have enough time to prepare.
I am a person who rarely shed tears. On the day of the show’s killing, when I said that I had to take off my costume, my tears came down at once, I don’t know why. In fact, it is because of hard work, I can only eat a little bit of rice every day, I have been practicing, I am pondering in the drama every day, and I have been very resistant from the bones, because I am still a very masculine person, let me play a woman OK, it’s too awkward to keep the girl every day, so I always thought about when I could get rid of this nail. I have to be comfortable and comfortable. But after you really take it off, you still have feelings for it, because your daily sweat and energy are inside. When I got up in the middle of the night, my fingers still subconsciously kept the female state. At that time, I felt very scary, but I was very happy, indicating that I had already integrated some.
Reporter: The part of the stage performance of the opera is imaginable for a film actor. Why do you have to insist on all the stage parts of the opera? Is this the director’s request, or do you set such a demanding goal?
Fu Dalong: Actually, the crew of the first group chose me to play. Both of us are playing drums in our hearts, and there is no bottom. To be honest, no one can count on singing all the time. The normal plan is to use the substitute. The crew invited Bei Kun’s performance artist Ha Dongxue to give me the rest, especially the last martial arts. I am sure I can’t do it. But from the first day, I told my teacher that I had to fight for myself, but I also tried to go. On the first day of the crew, I learned a step. I didn’t learn it. I didn’t know how to go. I was stupid at the time. I was very confident about myself. The next day, I started to play. I took the film on the fourth day. In fact, the scene was the most immature, but at the time, I was very excited with the teacher. The back is getting better and better, until the last martial art is complete. Take it down.
I also feel more adventurous, and the director said that I did not expect it, but why not say that instead of replacing it? Because this character is not much in the drama, but more than half of the drama is on the stage. I think that Yue Jiu on the stage is alive. He is only resting and preparing in life. His entire life is on the stage. So such a master, you don’t show the scale of his stage, it’s not acting. His stage charm is the place where this play attracts me.
Actors, like winemakers, need to settle
Reporter: You finished the “Zi Ri”, until the “Tiangou” appeared, there is a long time in the middle is more difficult, there is no drama, what is the most thought during this period?
Fu Dalong: In fact, many actors will experience it during that time. Most of the young students who graduated from colleges are now suffering from these. Especially the actor, in the 20s or even 30 years old, is immature, can not blame others, let you take a big role to play a mature role you can not reach. So I said that actors should be like winemaking. Personal acting and works are time-consuming and need to be supported by experience. Don’t worry. It’s not that if you read a film school or how many degrees you have, you will be able to play the show well. The 20-year-old actor is a genius, and he has not been trained for 40 years. Your skill is not up to you. For myself, I didn’t feel bitter before, so I didn’t feel bitter. I thought it was a process of experience, and I especially hope that it can be a little more. As an actor, there are too few things to experience, and the future is unlimited. In fact, it is not just an actor, no matter which line, you have experienced seven or eight years of silent work, this must be a good thing.
Reporter: When you were studying at the Film Academy, did you have any special actors, or what kind of actors would you like to be?
Fu Dalong: I like it all in a down-to-earth act. When we went to school, we especially praised Shihui. I have seen his talkbook, which is so thin and thin, but it is very encouraging. He went to observe the characters, sitting in the teahouse for 5 minutes, and able to tell everyone’s personality. In order to play a role, he sometimes didn’t see anyone for half a month. He quickly opened the door and found a smashing door. He was ready to play and found that this was Shi Hui. It turned out that he had been squatting for half a month. This is Experience. Including many drama masters, their experience is also very inspiring to me. For example, Li Wanchun, who plays the monkey drama, is said to have really raised a monkey at home. He observes his attitude every day. How can he not be a monkey king? In fact, the oldest form of performance in opera is the experience.
Reporter: Before the interview with the “Beijing Evening News”, director Hu Mei evaluated that you are a “natural talent”. Like Al Pacino, thousands of people face a thousand faces. Do you feel that you are a natural talent, or do you have the hard work of the day after tomorrow?
Fu Dalong: The director has won the prize. I can only use it with a little bit of difficulty. There is no talent. You have to be optimistic about the actors. Whatever it is, no one dares to have talent. But the day after tomorrow, I think it is certain. But the hard work of the former opera actor, we can’t reach it. In all fairness, we spend a lot of time on the play every day. In particular, the current creative mode, a three-month drama, watching the script for up to two months, is not able to produce old wine, this is no way. For example, in the movie “Entering the Capital City”, I received the script in the previous drama. When I was young, I entered the group directly. I didn’t have time to prepare. I could only do it while I was shooting.
Reporter: Many netizens will use “special” to describe you, because you do not open Weibo, do not accept advertisements, do not participate in variety shows, in a sense and the big environment is somewhat out of place. Why do you choose this?
Fu Dalong: I don’t think it is a bad thing to appear in entertainment programs often, but my own personality will choose a comfortable life. Acting is acting, life is life. I think actors should have this right. To be honest, the work has already made everyone entertained, and I don’t want to let everyone entertain. Sometimes I take a subway and enjoy myself. I still hope to do more myself.
Reporter: But there is a perception that when an actor has a better popularity or flow, he may be exposed to a better script and a better team. Will you miss some better opportunities because you are too low-key?
Fu Dalong: It will be, but everyone will face choices when doing anything, and every choice has both gains and losses. As an adult, you have to be able to bear the results of your choice. That is to say, everyone has been measuring all kinds of gains and losses in this life. For me, the current working condition is already very good, and I have gotten a lot. I often say that now I am willing to be on the stage, no matter what I play, I am willing to do it for the audience. But I don’t want to see that I have done a lot of very bad things when I look back on the past in my 80s, in exchange for a good script or fame. I just found a balance point that I think of myself. I don’t think it is low-key, it is appropriate.
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