Since 2016, women fans have interviewed Xie Yingxuan three times, watching her in the role shuttle, with part of her life, deep into Liu Sanlian, Chen Jialing, Zhang Qi, deep into each stage, television, film of them, and then with the film broadcast, awaken the resonance of the audience, and then with some of the characters, to continue their lives.
Three years later, Xie Yingxuan came with the new play "Heaven on the Fourth Floor" and greeted us with a smile as soon as he entered the studio door. Her long hair and shoulders, hand-to-hand left hair to the ear, elegant in a trace of rate, perhaps the "Common Girl" in the head of Chen Jialing's role is too distinct, for a while, all her impressions and perceptions, it seems to remain in that straight in the role with a bit of hysteria.
After receiving the interview, Yingyi said that she may look down at the mobile phone from time to time, but not distracted, is that she has written down to say a word, stored in the mobile phone, for all the upcoming story, are prepared.
Look at her adjust the sitting posture, etiquette, not because of the rush and disorderly feet, the heart has some admiration, but also grateful. Both plays at the same time ON documents, you can imagine the near future must be rushing to the scene, but she is still raising her hand to show ease, calmly contains respect, respect for the commitment behind each announcement, commitment to talk to us, and talk must be very happy, so ready to come, is also an elegant part of the actress.
Hello and bad, the body knows
"Recently, a host asked me why these two characters are single and seemingly independent women?" Open-door, topical, asked is how to understand the 40-year-old life exercises.
From the thirty generations to the forty generations, in fact, not much change, Xie Yingxuan said, in fact, women really have a lot of money, even if at first glance, the drama about the birth, marital anxiety are all at stake, it is just just right, these characters are facing their life course, but at these junctures, there are many branches are very personal, these seemingly collective sense of co-ownership, there are many, we can not see and can not say.
Whether it's Chen Jialing in "The Popular Girl", or Zhang Qi in "Heaven on the Fourth Floor", even if they are all 40 years old, single and independent, they do not necessarily mean that "they" is the common group of women of this generation, "after all, the label is good, but also bad." We don't have to be so anxious to put it up, there are a lot of different girls in this world, there must be a lot of exercises, we haven't discussed it yet. She said, embracing the larger world beyond the characters.
"I think it's a good state, forty years old, whether it's a play or myself, and if I really want to say something has changed, I think it's probably a change in the body." Xie Yingying laughs, exposed side-cheeked dimples, she mentioned, in fact, the theater actor, this is very sensitive to the body, after all, from school to theater, there are many opportunities to lead their own body, from bones, muscles, spleen to ribs, the body to undertake the outside world, and the mood of the inner world, inward devouring, very often before you perceive, will reflect on your body.
"Heaven on the fourth floor" is such a physical drama, psychologist Zhang Qi is also in the year of not bewilderment, after chaos and confusion, said also ironic, not bewildered with the distance of 40, often the more sought after, but pulled farther.
Xie said, like the characters in the play, these psychological fatigue, often into physical resistance: "Every age encountered the physical reaction is different, I think it is very important to perceive the body, understand how their body is, you will really know, psychologically what is not past."
So with the dialogue, as in the play, Zhang Qi every time he went to the old apartment located in the corner of the alley on the fourth floor, called "paradise" of the private push-and-pull hall, for the relief of the mind through the relief of the body, the emergence of dependence, over time, by pushing and taking the teacher's heavenly hands, to smooth their minds, will become Zhang Qi anxiety, the law must be asked for.
"If you're usually talking to it, your body is the same as your partner or lover, it's in a bad mood today, what kind of reaction it has today, and if you're watching it, you know it." Yingying mentioned that even if the actor's awareness of the use of the body is relatively high, but in life, still with ordinary people, often forget the existence of the body, mistakenly think that breathing is inevitable, have to visit the injury, forcing you to lose some of the usual habits of use, will find out how important the body.
"So get used to it, it's scary." For example, when there is a time when you have to change your hand to live with another hand, you will really feel sorry for that hand, "So, you can usually try to see, play a game with your body, give yourself 12 hours, tell yourself that today is not able to use your left hand, let yourself know: your hands are important, your lungs are important, your feet are important, your body is important, because it helps you live."
Your hands are important, your lungs are important, your feet are important, your body is important because it helps you live.
Dear girl, do you think for yourself?
Zhang Qi this role, with a desire to break through the border rebellion, but not with the bondage of the contradiction, while asking the case: "You are always helping others think, then you?" Did you think for yourself? Looking back and asking myself, "What about you, do you think for yourself?"
Speaking of the play, Xie Yingxuan's words only certainly: "We absolutely have, always for others to think and forget their own time, especially oriental girls, in the whole society and education system, gentle consideration seems to be must be in front of the role, I think there may be a simpler idea, can be "for others" and "for their own good" between the fight, as a loan."
Take "for the good of others" as a loan, if we will calculate their own money income, consumption expenditure, then we should also be able to calculate their emotional giving, give out do not have to think about taking back, but we must set ourselves the bottom line.
Xie Yingxuan speaks, there is the same reason for the role, but also for the role outside the world, very deeply aware that the performer is to some extent an observer, in the big life to see the subtle, in the subtle macro, thinking and moving manners, behavior affecting the character image presentation, the performance is true, depends on the actor for the issue, for the birth of the person itself, has his unique concern.
Emotional lending, is Xie Yingxuan's figurative understanding of emotional labor, she mentioned: "All things, you have to replace it with borrowed money, you have to know that you only have this money, how much money, you will think for yourself what kind of economic situation is needed to support life, why emotionally, you will not consider: I gave so much, in fact, has long been beyond their means?"
Draw emotional give the loss point, so, lending is to lend out, do not need to consider gain or loss, do not need to use extortion to resist the imbalance, because you find the bottom line, will not make themselves overdraft, therefore, you can again lend when feel full and at ease, and no longer lend, also do not feel guilty for people, you have peace of mind, can love people, can love yourself.
Total catharsis, which is similar to a survival instinct
"Heaven on the fourth floor" to the psychological and physical connection is very deep, consultation and push, the essence is to resolve, from the specific push open the body knot, to puncture a layer of self-defense, face their own inner child, know whether the body or heart, in the way of growing up, is closed a door, put on a lock, push and consult, are like opening Pandora box, the more you know yourself, the more you find yourself so not enough to understand yourself.
Speaking of the magical moments of physical and mental communication, Ying said that she did have an unforgettable experience: "When she was in college, drama classes were not so pure, there were various schools, and spirituality, and then there was a teacher who took us on an Sophie's spin."
The so-called Sophie spin is more like a practice or ritual than a performance, by selecting a habitual foot, finding a spot and spinning like a circle. In rotation, you will pull yourself out of the self, independent from your body, and you will be able to feel the gift of fear in a state that is detached from the earth's heart and almost thrown out, a moment when the body and mind are simultaneously detached from the gravity of the earth.
"The teacher wanted us to spend 15 minutes, 15 minutes in that rotation," she said. I thought for a moment, and my gut thought asked, "Has it been a long time?"
"We sound like 15 minutes for a long time, but in fact it's 15 minutes, less than half of the album, normal you slip you, time is up," she says, laughing and pinching, "when you start that few seconds, because your body's perception and time are completely different, you can't calculate how long it's been, it's the most scary time, because it's not in the inertia of your life."
Talking about this experience, Yingying eyes there is a throbbing, the Buddha said at this moment, she and the listener are back to the present rotation, she lowered the volume, slow down the speed of speech, as the guiding role: "In the process of turning, you will continue to talk to yourself, think, "Yes, don't make a fuss, 30 seconds to give up?" Then turn around, turn around, and think, 'Okay, it's been more than 3 minutes, is there a chance to get to 5 minutes?' That moment I know for myself that I actually want to finish that 15 minutes, because it's not done, what's the point of this rotation?
Rotating so that the body loses weight, the whole person leaves inertia, there is panic, there is no control over their fears, but also take her through the magic moment never felt.
"In the moment of rotation, you see a really different world, you feel like you're going to fly out and you can't control it, but you're back in control. But once you're back in control, everything doesn't seem interesting enough, so you have to learn to let go, learn to get out of control, gradually, you get used to it in a very strange balance, and then when you get to a stage, you suddenly feel like everything has changed, back and forth in danger and not danger, and over a stage, I start crying.
It is after experiencing the ultimate fear, the process of fully perceiving your own body, survival instincts drive the emotional release, it is not ecstasy, nor is it great sorrow, it is more like a kind of withdrawal from your original known, after your release, complete catharsis, it is similar to the survival instinct, with you to feel your body, really with yourself.
Xie Yingxuan put his hand over his chest, smiled and said, God, we have entered a strange situation of confusion, while gently appealing: "Listen to me, open your heart." Feel the invitation of the actor at the moment, it is a kind of hook, such as Xie Yingying become any role, all the changing eyes, as if to tell you, who I am who who, please believe me, listen to me.
"At the end of the rotation, the teacher asked all of us to lie down, and the classmate on the side tripped as he lay down, and he said, "Wow!" I was very angry. Ying said, as if reading the bedside story: "At that moment, the most bizarre thing happened, I felt his anger is no longer just "others" angry, that emotion like a gas field coming towards my side, it really came, you feel like it is constantly surrounded by that thing like a fluctuation. "
The charm of the actor in the invitation moment, emotion is also an invitation, feel out of their own body, and from the other side of the nose, are a soul bump, the actor can sense the flow of emotions from the opponent, the viewer can also see from a character's own emotional reflection, drama and lines through the emotional interpretation, reflected on you, as if forming a certain kind of revelation, to show you resonance.
When an actor, completely underground put his soul, coincides with the role, crying out the character's tears, swallowing the character's difficult, laughing out the character's emotions, then now, why not another Sophie spin it.