Basic introduction Chinese name: stage play definition: dramatic art forms presented on the stage: opera, ballet, drama, pantomime, etc. Comedy, tragedy and drama stage matching, creative source, live dance, performance mood, behavior, present situation and prospect, Japanese stage play, live-action stage play, campus stage play script and stage matching. Due to the progress of modern technology, not only the supporting facilities of the stage are more and more perfect, but also the functions of the stage itself are more and more complete-the lights rotate, sweep and blink, the devices rise and fall, move and shake, and the sound effects can surround the theater. The stage can move horizontally, the stage can rotate, the stage can be covered with clouds and mountains, and the stage can call the wind and rain. The plot of a stage play can be original, or it can be adapted from novels, cartoons, TV plays and movies. Stage plays basically adopt the form of "singing+dancing+dialogue", plus live performances, so the requirements for actors are very high. In addition, it inevitably involves professional skills such as music, script, modeling, stage design and lighting, so the conditions for a successful stage play are very harsh. The stage play "Love in a Fallen City" is a new dance and an attempt. It is characterized by getting rid of the form and bondage of classical ballet and freely expressing thoughts, feelings and life with natural dance movements. Later, many dancers inherited Deng Xiao's ideas and founded their own schools. Performance Emotion Performance Emotion refers to the performance state in which actors directly present the external appearance of emotions in life without communicating and experiencing with their opponents on the stage. This is the most common misunderstanding for non-professional actors and students in performance learning, because it seems difficult for the audience to point out the problems in this kind of performance. Stanislavski pointed out: "The first thing we should pay attention to is not the external expression of emotion, but the internal logic of emotion, its true essence and its natural development law". Actors' emotions on the stage are reflected by the following expressions: 1. Facial expressions. Emotion is expressed through the changes of facial muscles and glands, and consists of different combinations of eyebrows, eyes, nose and mouth, including seven basic expressions: happiness, surprise, anger, disgust, fear, sadness and contempt. The most recognizable expressions are happiness and pain, the more difficult ones are fear and sadness, and the most difficult ones are doubt and pity. Actors who are used to "performing emotions" have a good grasp of these seven basic expressions. They can freely switch between these expressions and be familiar with their expressions. But they ignore the complexity of human emotions, which are often not simple happiness, single fear and so on. So the characters created in this way are rigid and incomplete. Second, the body expression. That is, people's body posture and movement changes are used to express emotions. In life, what people encounter is real, and people are themselves; But on the stage, everything is hypothetical, and people are not themselves. If we only mechanically apply the body expression designed by the actor for this role, we will go into the misunderstanding of "performance emotion", and the essence of performance lies in performing "action" rather than "emotion" Third, intonation and expression. That is, expressing emotions through the change of tone and rhythm is also a language phenomenon. When we learn to process lines, we all know that intonation is an important means to convey the inner feelings of characters. The same word, different intonations can express completely different meanings, and the same intonation may also express different meanings. Perhaps this difference is subtle, but it is necessary. Only in this way can the intonation between sentences be harmonious and the meaning be full. Emotion and emotion in finding neverland are closely related, but there are differences: from the perspective of demand, emotion is more related to people's material or physical needs, and emotion is more related to people's spiritual or social needs; From the point of view of occurrence sooner or later, from the point of view of development, emotions occur early and later. People will have emotional reactions when they are born, but they have no emotions. Emotion is possessed by both human beings and animals, and it is unique to human beings and develops gradually with their age. Judging from the characteristics of performance, emotions are situational, exciting, temporary, superficial and explicit. If you encounter danger, you will be extremely afraid, but after the danger, the fear will disappear. Emotions are stable, lasting, profound and implicit, such as national pride and parents' love for their children. However, the content to be performed by an actor is social, and the role to be shaped is also social. Generally speaking, these characters all have some kind of "emotion", so in many literature of performance theory, they are linked together and collectively referred to as "emotion". The relationship between emotion and action is that action (will action), also known as action, is produced by will, has a certain purpose and belongs to human behavior. The purpose of action is always to change the object of action. According to the laws of nature, any action must have enough desire to do so before it begins. For example, if I want you to stay with me, I will keep you; I wanted to convince someone, so I did it. Therefore, actors can't impose their feelings on themselves, and they don't have to "perform" these feelings and imitate their external performance. There is only one correct way: accurately determine your attitude, use your imagination to find the basis for your attitude, and in this way stimulate the desire to act (the requirement of inner action), and then act. Don't wait for emotions, because in the process of action, emotions will automatically appear in the most needed form, so that the performers themselves believe, the opponents believe and the audience also believe. Behavioral action First of all, action comes from psychological action, so it includes the external action and internal action of the characters in the play. Another classification is that actions can be divided into pure external actions, personalized actions, actions that help the development and interpretation of the plot, internal actions, static actions and so on. "External action" refers to actions that all the audience can "see", such as walking and dancing. This is also the actor's "body action", which reproduces the whole process of action in the play. In the script, the external actions of the characters are written by the screenwriter with simple "stage hints". On the stage, the actor makes it visually reappear through body movements. In any script, there will be many external actions, but not all external actions are dramatic. To make the external action dramatic, at least two conditions are needed: first, it should be an organic part of the plot development and promote the plot development; Secondly, the audience can gain insight into the hidden inner activities of the characters through the visible external movements, which can reflect the inner body movements of the characters. At the same time, any conscious action of human beings is produced by some internal will, which is an intuitive expression of the characters' thoughts, feelings and psychological state. Of course, fundamentally speaking, people's inner activities are not created out of thin air. In a specific environment, people encounter certain situations or interact with other roles (contradiction, disgust, sympathy, etc.). ), so they have a specific state of mind and emotion, and then they will act accordingly. Because of this, if a playwright wants to give a role a specific external action, it is necessary to understand its psychological basis, and let the audience gain insight into the inner thoughts, feelings and psychological state of the role and understand the will of the role through it. This is another important condition to make external actions dramatic. Stage stills-"internal action", also called psychological action, refers to an invisible internal action aimed at changing people's consciousness (including opponents and characters themselves). Any external behavior and language behavior are based on psychological activities and have internal basis. In creation, actors should organize organic psychological actions according to the characters' personalities and characteristics provided by the script, so as to ensure the order and coherence of external actions and arouse the corresponding internal psychology and emotions. Emotion is the motive force of will, and will action contains both purpose and emotion. "Action" is the most powerful weapon to get out of the misunderstanding of "performance emotion". Experience is the soul of performance, and action is the essence of performance. Present Situation and Prospect Stage plays are gradually marginalized in people's daily entertainment activities, because leisure time resources have been ruthlessly divided by other alternative forms of entertainment, and stage plays are too high because of consumption cost. Although some people are still shouting loudly, the stage play is in trouble because playwrights can't write works that reflect the times, because the appreciation level and cultural quality of Chinese people need to be improved, and because the management system of the troupe needs to be reformed. In a word, the living environment of stage plays is not optimistic, because the audience resources are limited and the entertainment options are diverse. It is difficult for a stage play to "revive" as its fans wish. But the stage play will still exist, on the edge of people's daily entertainment. It will have a small and loyal audience. These people either have some self-expectation for the education of history, culture and art, or are willing to choose less popular forms of entertainment to meet the differentiated needs of a cultural group, or both. Of course, they usually earn a lot of money. Once spread all over the country, large and small stage performance groups will gradually decline or even disappear. Successful performance groups will be concentrated in one or two big cities with developed economy and large population, because only these cities have the market scale to support the survival of these performance groups. As far as the whole country is concerned, the demand for stage plays will be in short supply, which will make the performance groups in metropolis likely to be popular wherever they go when traveling and performing; It also makes people who can't see the stage play in other places, when visiting the metropolis, may regard walking into the theater as an opportunity to taste. Japanese stage plays have a strong popular base and a long history in Japan, which can almost be said to be the quintessence of Japan. Japan's Baozang Troupe enjoys a world reputation. The plot can be original, or it can be an adaptation of a novel, comic book, TV series or movie. Stage plays basically adopt the form of "singing+dancing+dialogue", plus live performances, so the requirements for actors are very high. In addition, it inevitably involves professional skills such as music, script, modeling, stage design and lighting, so the conditions for a successful stage play are very harsh. Very popular stage plays will also introduce DVD, actor set, soundtrack CD and other peripheral products. The relationship between stage play and animation was founded by Disney, and then Japan borrowed Disney's approach to put animation on the stage. Live-action stage play is a narrow concept, that is, Japanese actors perform stage plays adapted from popular animation. The most famous stage play is The Prince of Tennis (referred to as the Tennis Dance), followed by Death (referred to as the Dance of Death or 45), Pretty Woman Warrior (referred to as seramyu), Hunter, Sakura Wars and Black Deacon 65438. China also has the same special stage play "Armoured Warrior Stars". Campus drama script Campus encourages drama script "Unyielding Life"