1905 Movie Network News In 1985, the TV series "Four Generations Under One Roof", originally written by Lao She and directed by Lin Ruwei and others, was launched. The role of "Yunmei" was widely praised. The actor of this role - the famous Peking Opera performing artist Li Weikang She has devoted her artistic career to the career of Peking Opera before and after. "Four Generations Under One Roof" became the only TV series she participated in, leaving many unforgettable memories.
China Television Arts Committee specially invited Mr. Li Weikang for an interview to review his on-stage and behind-the-scenes stories of participating in the 1985 version of "Four Generations Under One Roof", showing the charm of classic works accumulated over time.
Q: How did you get the chance to star in the TV series "Four Generations Under One Roof"?
Answer: I have been interested in acting for a long time, especially how to portray characters. Mr. Hua Huilin taught me in this aspect when I was still a student. Later, I acted in "Red Lantern" and "Dino" For modern plays such as "Sichuan White-Haired Girl", I had already put some thought into the performance at that time. Peking Opera is more of a stylized performance, and I have always felt that the experiential performance method should be strengthened. In addition, I have loved watching movies since I was a child, such as "A River Flows East" played by Bai Yang, and Sister Xianglin in "Blessing", which left a deep impression on me.
At that time, I happened to have a friend who knew someone from the cast of "Four Generations Under One Roof" and asked me if I would be interested in participating in a TV series? What did I say I was playing? I've never acted in a TV series, so I might as well give it a try. Unexpectedly, the director (Lin Ruwei) asked me when he met me, could you play the role of Yunmei? I think you are suitable. I don't know if Director Lin has seen my "Butterfly Love Flower", because in "Butterfly Love Flower" I wore a cheongsam. I said that the character Yunmei was quite important, but I didn’t understand it at all, so I didn’t dare to take it on. It would be more suitable for me to play the role of Mrs. Xiaowen. Director Lin said, it's okay, we don't want actors with "familiar faces", we just want to find someone who has never acted before to play this role. I see that you are a student of Peking Opera, you are very particular about etiquette, and you are more familiar with traditional culture. I think you can do it. Just relax and perform. I thought the director might have recognized me, so I thought I’d give it a try.
asked: What preparations did you take part in before filming started? How do you personally understand the character "Yunmei"?
Answer: "Four Generations Under One Roof" is a TV series, and director Lin Ruwei prepared the filming according to the shooting method. We first gathered at the Bayi Shooting Range, which is where the "Little Sheepfold" in the play was filmed, and everyone gathered together to deepen their lives. At the beginning, because the clothes were all newly made, we needed to wear them more "old", so we wore the costumes in the play to experience life there, memorizing lines, getting to know the characters, and performing sketches together according to the script. Because Mr. Lao She's original work itself is very vivid, it is not particularly difficult for us to memorize the words. For example, Yunmei is very filial to Mr. Qi, and the old man particularly likes this grandson's wife, so the two men chatted very vividly, such as talking about stone lions, The old man said, "You can't eat it or use it, so why do you need it?" For example, he teased me about my name, "Your name is Yunmei? It's actually just transporting briquettes back and forth." These conversations were very lively and lively. Teacher Shao Hua, who plays Mrs. Qi, is really a good performing artist. I feel that communicating with him is very natural and comfortable, and it is easy for me to get into the role when I act.
In addition, after reading the original work and the script, I also understand more and more what kind of feelings Yunmei has towards Mr. Qi, her parents-in-law, her two children, the eldest, second and third children, and the neighbors. . If I had to sum it up, Yunmei is full of love for everyone she meets. So, how to get into the heart of the character Yunmei? My method is to recall the people I met during that period, such as my mother.
My mother is an old-fashioned intellectual and has been working as a teacher. She is a good wife and mother who is busy all day long. She is a very good employee and a model worker in the workplace. She gets up very early every day and goes to the workplace early to do hygiene for everyone.When I get home every day, in addition to judging homework for the students, I also darn socks and knit sweaters for our six children. She is very filial to my grandma and obedient to my dad. She does all the housework by herself. Not to mention my children, I really try my best to dedicate everything to my children. So when I was creating the character Yunmei, I could draw on the image of my mother. In addition, aren't the heroines in the two movies "A River Flows East" and "Blessing" that I mentioned above also have virtuous, hard-working characters who endure all the hardships they suffer? I think these three women helped me establish an image in my mind of a good wife and mother, kind and tolerant, with a clear distinction between love and hate. The image of Yunmei gradually formed in my heart.
asked: What kind of acting attempts did you make in the process of interpreting this role?
Answer: Take the scene where Yunmei’s youngest child Niuniu dies as an example. This is a relatively difficult long shot. The director told me that you should not shed tears while filming this scene. When packing Niuniu’s things, you should first take out all her things from the cabinet, then go to the bed, pack the things one by one, and take them to her. Your heart started to move when you picked up the clothes. When you got the doll she usually held in her hand, tears were almost in your eyes. Only then will I gradually push the camera from the panorama to a close-up of you. Half of the close-ups are flashback shots of your child, and half are shots of you crying for the child who just died. How about your tears? Stop and flow.
I still remember that I said that I was going to shoot this long shot that morning, but we didn’t start shooting until the evening. I spent a day brewing there, because I had this experience when I was filming the scene of "Xiaoying's Crying Mother" in "Plain War". I couldn't test whether there were tears before filming, so that when I officially filmed it, No more tears. So I didn’t dare to try too much, but I couldn’t help but try, so I didn’t talk to anyone for a day, just relaxed by myself, and occasionally tried (crying). Finally, it was my turn. After one performance, the director was satisfied and the scene was not retaken. I passed it in one go. This shot was a big test for me, because it made me wait all day and shoot such an important shot at night, which exercised me. Moreover, the expression was satisfactory to the director, and I was quite satisfied after watching this scene myself. This experience was very helpful for me when I performed tragedies in Peking Opera later. I was able to control my voice with tears in my eyes and express the inner feelings of the characters through singing. I have a name for this kind of performance called "emotional freezing".
asked: What is your impression of the creative environment at that time?
Answer: The entire crew of devoted themselves wholeheartedly, and every comrade worked hard. Lin Ruwei, the director, brought all her cheongsams for me to wear and try on. Moreover, we all went home to eat by ourselves at that time, and we had to prepare meals for the next day’s filming and bring them to work. When I go home very late, everyone at home has rested, and I have to cross the wall of our Peking Opera House before I can go home.
asked: What do you think of the “Revisiting Classics” channel’s decision to use “Four Generations Under One Roof” as its first broadcast?
Answer: Everything must have its value. I think the play "Four Generations Under One Roof" is both educational and entertaining. First of all, Mr. Lao She's original work itself is very vivid and very real. Mr. Lao She did not directly mention the word "patriotic" in the book. He used countless vivid people and events to describe the lives of ordinary people after the fall of Peking. From the perspective of television art, the TV series vividly presents the stories in the book, the choices of the characters, and the fate on TV. It is particularly contagious. Can everyone not be educated after watching the TV series? The impact is subtle.
Every actor in our crew plays the leading role, supporting roles and even small roles with all their heart. This is the best thing about this crew, everyone is very serious. Regardless of the good guys or bad guys in the play, they all left an indelible impression on the audience. This is a true portrayal of life.Therefore, everyone will strongly feel that the Chinese people must be self-reliant and self-reliant, and cannot let history repeat itself. By watching "Four Generations Under One Roof", everyone can really receive a profound patriotism education. TV series are vivid patriotism teaching materials.
asked: What are your thoughts on the significance of setting up the "Revisiting Classics" channel?
Answer: There are now a lot of TV series, and I love watching them, but I always feel that the quality ones are still lacking. Of course, it is not easy to produce high-quality products. With the guidance of classic works, practice first, then summarize, and then practice. I believe there will be more and more high-quality products.
Oral guest: Li Weikang (famous Peking Opera performing artist)
Special interview and arrangement: Lin Hui (Lecturer at Communication University of China, film and television history scholar)
