Yu Hewei's acting skills are really excellent, which is worth learning by the actors! Death of the First Emperor "—— Appreciation of Yu Hewei's performance in The Legend of Chu and Han.
the first emperor was gloomy and sad. He told Zhao Gao that he couldn't sleep until he was wobbling in the car. I wonder if Yu Hewei made any reference to the historical data that Lin Biao couldn't sleep until he bumped in the jeep when designing this point. Looking at the line of Qin, of course, we are looking at Yu Hewei. Other than that, it's really terrible. Historical mistakes continue, and Gao Xixi praised his play with the famous saying that "details are the expression of history", which is simply slapping himself in the face.
Yu Hewei said that he designed the role of the first emperor, and he was a late-stage depressed psychopath. Then the face of the first emperor in the play is often gloomy, and the performance state is mainly "closed" (there are occasional hysteria in the back play, which is the other side of the mentally ill), which is the "depressed" side; On the other hand, the mental patient's side is even more exciting: that is, the camera is shooting at the first emperor, and any of his downward expressions, actions or words seem to be beyond the audience's "this moment".
For example, in the first episode, he looked back several times to see the eagle hovering in the sky outside the window. Every time, it seemed that thunder was about to explode. We thought that he might be a "tyrant" and binge drinking, "Shoot that damn thing down for me." It turned out not to be. After a long time, I finally made a soft landing.
Yu Hewei's growing experience from childhood, as well as the great changes he experienced, can convincingly trust Yu Hewei's positioning and design of the characters as "late depressed psychopaths". For example, in "Hanwu the Great", Emperor Jing of the Han Dynasty is the benevolent master of peace, so Jiao Huang performed the "positive" taste of Emperor Jing with the bright yellow and noble spirit; When Jingdi was a teenager, he killed the son of his uncle, Wu Wang Liu Bi, and his cousin with a chessboard, which had a great influence on the development of his adult character. He had to reflect on his temper and became cautious, so that he was too hesitant to be cautious. Jiao Huang vividly expressed this point with a play that included five psychological barriers before killing Chao Cuo. Yu Hewei, who is just forty years old, has been able to catch up with everyone like Mr. Jiao Huang in the design and performance of historical figures, admiring and admiring.
More importantly, this is an incision, which begins to lead to the contradiction between the first emperor and the Confucian scholars (grass snake gray line: we think back to the previous play, and Qin Shihuang told Zhao Gao in the east patrol car that farmers are not to be feared, so be careful of Confucian scholars and alchemists in this area. It can be seen that the suspicion and distrust of Confucian scholars in the hearts of the first emperor has a long history. This also laid a good introduction for the later play "Pit Confucianism". -However, "The ashes were not cold before the Shandong chaos, and Liu Xiang didn't write books". How could Ying Zheng have expected that Liu Laosan, who finally entered the customs and died in Qin, turned out to be a street scoundrel who didn't study? Hehe. The paradox of history). Yu Hewei's plays always have hidden tension, and this play is no exception. I guess, eating meat in the temple is the same as reading the paper in the above-mentioned east patrol car, and it should still be Yu Hewei's design.