Cover News Reporter Xun Chao, Wu Deyu, Zhang Jie, Photography by Zhou Bin, Intern Mo Molei
"As the old saying goes, 'men are afraid of doing the wrong thing,' but I am not doing anything wrong in my 'thing'." - Pu Cunxin
Life is full of infinite possibilities, and I am very interested in 70 The same is true for the 2016-year-old Pu Cunxin.
During the Spring Festival of the Year of the Dragon, from February 22 to March 3, 2024, Beijing People's Art Theater once again staged the classic drama "Teahouse" to pay tribute to the 125th anniversary of the birth of Mr. Lao She. After its premiere in the Year of the Dragon, the total number of performances of "Teahouse" reached 735. It is worth mentioning that Pu Cunxin, chairman of the Chinese Dramatists Association, a famous performing artist and a national first-class actor, has been with this "treasure of the town" for more than 20 years, and his role as "Chang Siye" is deeply rooted in the hearts of the people.
Stills from the drama "Teahouse"
Pu Cunxin was interviewed by a cover news reporter at Beijing People's Art Theater Photography by Zhou Bin
Since its premiere at the Capital Theater in 1958, "Teahouse" has been continuously performed on the stage of Beijing People's Art Theater for more than 60 years. This work, known as the "miracle on the Oriental stage", has become an important milestone in the history of Chinese drama development with its unique artistic charm and profound social significance. Every time it is performed, it attracts a large number of audiences. The venue is sold out and tickets are hard to get. The evaluation of "One "Teahouse" is half the history of the development of Chinese drama" fully demonstrates the outstanding status and immortality of "Teahouse" in the drama industry. charm.
Every performance of "Teahouse" is a new experience for Pu Cunxin. This "newness" comes from his devotion day after day, and also from the interaction with the audience. "For more than 20 years, I have really lived on stage. The characters and the actor myself are vivid and alive on the stage. My breathing is getting more and more correct."
's persistent pursuit and unremitting pursuit of art Through hard work, Pu Cunxin created many classic characters including "Chang Siye", Fusu, Sun Ce, Zhuge Liang, Cao Cao, Li Bai, Lin Zexu, Lu Xun, Zhou Ping, Master Hongyi, Hamlet, Edward Rochester, King Lear, Gao Tian, He Yuanchao and others are household names. With his unique artistic perspective and in-depth life experience, he gives life to the drama and soul to the characters. Each character seems to be a mark of the times and an eternal light in the hearts of the audience.
At the end of 2023, the cover news "Dao Dao" humanities media reporting team had two conversations with Pu Cunxin to gain an in-depth understanding of his understanding and love of drama and characters. He said frankly: "For me, drama is not only an art form, but also a way of life and an attitude towards life. It makes me cherish every moment of my life more and understand myself and others more deeply."
Pu Cunxin Photography by Zhou Bin
Even though he is now nearly ten years older than Li Bai, he revealed that he is still planning to reprise "Li Bai" in December 2024. "When I stood on the stage, I seemed to become him." Pu Cunxin said.
Stills from the drama "Li Bai"
"Drama saved my life"
Pu Cunxin was born in 1953, one year after the Beijing People's Art Institute was established. His father, Su Min (whose real name is Pu Sixun), is a first-generation actor in the Beijing People's Art Theatre. He has starred in dramas such as "Thunderstorm", "Cai Wenji", "A Wise Man Will Make a Mistake" and "Courage of the Sword", and directed "Wang Zhaojun", "Li Bai", "Amulet", "The Proud One" and other dramas. Pu Cunxin grew up in the theater with his father. "Watching theater is a daily part of life for me, just like eating and sleeping."
Stills from the drama "Thunderstorm"
Stills from the drama "White Deer Plain"
Stills from the drama "Cai Wenji"
Although I watched it as a child He seemed to understand the play, but the words "The play is bigger than the sky" were engraved in Pu Cunxin's heart very early. He recalled in the book "Pu Cunxin: Me and My Role": "My father's habit is to do it before the performance. Not eating, so I often took on the task of delivering meals.There is a dark corridor in the long corridor leading from the dressing room to the stage. Children are not allowed to enter this corridor. When I go to deliver food, I often stand at the entrance of this mysterious corridor waiting for my father. I know the corridor At the end is a brilliant stage filled with lights, a mystery surrounded by a halo. "
Pu Cunxin Books Photography Zhou Bin
It was not until 1984, when the Kongzheng Repertory Theater staged "9·13 Incident" at the Beijing People's Art Capital Theater, that Pu Cunxin stood on this "mysterious" stage for the first time as an actor. Two years later (1986), during the rehearsal of the play "Qin Emperor and Sons" directed by the famous dramatist Lan Tianye, Pu Cunxin officially entered the Beijing People's Art Theater.
Recalling his feelings at this time, Pu Cunxin sighed with emotion: "Joining the Beijing People's Art Theater" Humanity gives me the feeling of "the fallen leaves return to their roots", a sense of solidity like finding a good partner and getting married. Although I am a child of Renyi, I had leg problems when I was young. As a young man, I became an educated youth and gradually drifted away from Renyi. Now I have finally entered the art world after stumbling and stumbling, and have embarked on a straight road. It seems that I can go on forever, no longer hesitate, and have no other wishes. This is another major milestone in my life. This is the new starting point of my life, and it will also be the end. As the old saying goes, ‘men are afraid of doing the wrong thing’, but I’m not doing the wrong thing. "
Beijing People's Art Photography Wu Deyu
Beijing People's Art's veteran actors are a sight to behold. Photography Wu Deyu
In an interview with a cover news reporter, he solemnly said: "Drama saved my life. Although I do not have a high school or university degree, literature and art opened a window for me, allowing me to see a broader world and various lives. Drama is a kind of education for human beings. Like reading, it shows us the diversity of the world and the various aspects of life. By watching dramas, we can gain an in-depth understanding of characters and stories from ancient and modern times, both at home and abroad, and enrich our emotions and thinking. Whether tragedy or comedy, they are the way we understand life. "
Pu Cunxin was interviewed by a cover news reporter and photographed by Zhou Bin
"Breathing is the highest state of skill"
From "Fusu" in "Qinhuang Emperor and Sons" to "Zhou Ping" in "Thunderstorm", and then to "The Parisian" "Hamlet", "Three Sisters: Waiting for Godot", "The Master of Architecture", "The Lobbyist", "Teahouse", "Under the Red Flag", "White Deer Plain", "General Coruliu Lan"... Pu Cunxin's understanding of performance is getting deeper and deeper. For example, " "Parisians" allowed him to learn to "communicate with the audience without a sense of distance", that is, to "break the fourth wall of the stage." "For the first time, I felt that by jumping in and out like this, I was both a character and myself. In hypothetical performances, this is actually the performance aesthetic concept of ‘I am, I am not’. It’s a bit convoluted to say, but it’s actually the artistic interest between authenticity and fiction. "
"Hamlet" gave him the opportunity to "express the awakening that cannot be expressed in real life, and discover my own nature that even I didn't know. The mask was off and I became real. Playing Hamlet, I felt that on the stage, actors can have the freedom to do whatever they want, which was extremely enjoyable. "When playing "Li Yu" in "Boundless Love", Pu Cunxin also once couldn't find the feeling. He concluded: "When an actor is creating a character, if he encounters the difficulty of not being able to find the feeling, I think he should relax as much as possible. , consider yourself and save others, don't force it, don't act it out, and avoid feeling like it's superfluous. "Every time
takes the stage, Pu Cunxin is eager to explore deeper connotations in the role and bring new feelings to the audience. "Pilots need to rely on various instructions and signs to ensure that the plane is flying on the correct route. These things are like us The framework and rules in artistic creation ensure that we move on the right track, but at the same time give us enough freedom and space to play and innovate.
Pu Cunxin discovered more and more that "when art reaches a certain level, the relationship between notes, colors, ink, pen and paper is often unable to be accurately expressed in language, and presents a vague state."In his eyes, "Drama is like a piece of jade waiting to be carved. I am eager to touch it and learn from it." Those areas that you have never experienced before are the truly fascinating places. "Creation is essentially the embodiment of intuition. Breathing, as the soul of performance, is the key to finding the character's personality and life state." Breathing is the highest level of skill. Only when you breathe correctly can the technique work as well as it should. "
Regarding the pursuit of art, Pu Cunxin has never stopped exploring. At the same time, he is willing to jump out of his comfort zone and perform more challenging works. Starting from October 2023, Pu Cunxin will star in the drama "Jane Eyre". In the second round of performances, despite the physical challenges, he still devoted himself to the role with enthusiasm. "The current state is actually a turning point, a transition point from 'can't' to 'can'." When you suddenly feel lost or don’t know how to do something, it’s often a sign that you’re about to discover something new. You are exploring a new area and it may feel unfamiliar at first, but as you learn more about it, you will gradually become familiar with it and master it.
stills from the drama "Jane Eyre" According to the National Center for the Performing Arts
Pu Cunxin said frankly that when he was young, he was deeply influenced by some excellent works, "In the past 20 years in the People's Arts, I also have plans to systematically learn from the older generation of artists. work. Now that I have reached the stage of their fame, I hope to learn and perform like them. So I participated in Wang Xiaoying’s National Center for the Performing Arts project, performed it in depth, and calmly entered the creation of the character’s character. This performance gave me a deeper understanding and appreciation. I believe that as long as we continue to work hard, we can perform this work even more perfectly. "
When faced with past roles, Pu Cunxin is also not satisfied with his past performances, such as the protagonist "Li Bai" in the drama "Li Bai". Talking about this classic role that he has played for more than 30 years, he said that only by in-depth Only by understanding the dilemma in Li Bai's life can we find a good performance direction. "Dilemma is everywhere, it runs through every moment of our existence. But this does not mean to imitate his appearance or image, but to understand his inner world and emotional state. What the audience sees is not only Li Bai's external image, but also the difficulties and challenges he encountered in prescribed situations and plot development, as well as his emotional expressions. "
Pu Cunxin, who is over 70 years old, plans to re-perform "Li Bai" in December 2024. "I am almost ten years older than Li Bai now, but when I stand on the stage, I seem to become him and feel His thoughts, emotions and life experiences. " He believes that only by exploring the inner world of the character more deeply can the audience believe that "Li Bai" is what he appears on the stage through his performance.
"Both the audience and I pay attention to the deep meaning behind the story. The role of the character in the story 's fate is a bridge back to that eternal topic: the dilemma they faced. These dilemmas are what we refer to and are the key to our understanding of the world. If we were in their shoes, would we be able to empathize with their emotions? This is why we watch theater and this is our mission as actors. "Pu Cunxin said.
"Performance is a technical discipline"
In the interview, Pu Cunxin summarized the "artistic spirit" in his mind. He believes that "the quality of the theater should be demonstrated through works with profound and interesting ideological connotations. ;Creators should have a sense of life, so that the work is full of the breath of life and vitality, and they need to have a clear and vivid expression method to ensure the overall perfect performance quality. "
Speaking of this, Pu Cunxin specifically quoted the words of the late famous performing artist Lan Tianye: "Don't be conceptual, don't be emotional, don't be false. Don't simply classify characters as good or bad, don't always perform according to a fixed image, and don't use general emotions to replace the character's personality. The most important thing is not to be false. Only when we truly understand the inner world of the characters can we interpret them more realistically and vividly.
Cover News Reporter Xun Chao, Wu Deyu, Zhang Jie, Photography by Zhou Bin, Intern Mo Molei
"As the old saying goes, 'men are afraid of doing the wrong thing,' but I am not doing anything wrong in my 'thing'." - Pu Cunxin
Life is full of infinite possibilities, and I am very interested in 70 The same is true for the 2016-year-old Pu Cunxin.
During the Spring Festival of the Year of the Dragon, from February 22 to March 3, 2024, Beijing People's Art Theater once again staged the classic drama "Teahouse" to pay tribute to the 125th anniversary of the birth of Mr. Lao She. After its premiere in the Year of the Dragon, the total number of performances of "Teahouse" reached 735. It is worth mentioning that Pu Cunxin, chairman of the Chinese Dramatists Association, a famous performing artist and a national first-class actor, has been with this "treasure of the town" for more than 20 years, and his role as "Chang Siye" is deeply rooted in the hearts of the people.
Stills from the drama "Teahouse"
Pu Cunxin was interviewed by a cover news reporter at Beijing People's Art Theater Photography by Zhou Bin
Since its premiere at the Capital Theater in 1958, "Teahouse" has been continuously performed on the stage of Beijing People's Art Theater for more than 60 years. This work, known as the "miracle on the Oriental stage", has become an important milestone in the history of Chinese drama development with its unique artistic charm and profound social significance. Every time it is performed, it attracts a large number of audiences. The venue is sold out and tickets are hard to get. The evaluation of "One "Teahouse" is half the history of the development of Chinese drama" fully demonstrates the outstanding status and immortality of "Teahouse" in the drama industry. charm.
Every performance of "Teahouse" is a new experience for Pu Cunxin. This "newness" comes from his devotion day after day, and also from the interaction with the audience. "For more than 20 years, I have really lived on stage. The characters and the actor myself are vivid and alive on the stage. My breathing is getting more and more correct."
's persistent pursuit and unremitting pursuit of art Through hard work, Pu Cunxin created many classic characters including "Chang Siye", Fusu, Sun Ce, Zhuge Liang, Cao Cao, Li Bai, Lin Zexu, Lu Xun, Zhou Ping, Master Hongyi, Hamlet, Edward Rochester, King Lear, Gao Tian, He Yuanchao and others are household names. With his unique artistic perspective and in-depth life experience, he gives life to the drama and soul to the characters. Each character seems to be a mark of the times and an eternal light in the hearts of the audience.
At the end of 2023, the cover news "Dao Dao" humanities media reporting team had two conversations with Pu Cunxin to gain an in-depth understanding of his understanding and love of drama and characters. He said frankly: "For me, drama is not only an art form, but also a way of life and an attitude towards life. It makes me cherish every moment of my life more and understand myself and others more deeply."
Pu Cunxin Photography by Zhou Bin
Even though he is now nearly ten years older than Li Bai, he revealed that he is still planning to reprise "Li Bai" in December 2024. "When I stood on the stage, I seemed to become him." Pu Cunxin said.
Stills from the drama "Li Bai"
"Drama saved my life"
Pu Cunxin was born in 1953, one year after the Beijing People's Art Institute was established. His father, Su Min (whose real name is Pu Sixun), is a first-generation actor in the Beijing People's Art Theatre. He has starred in dramas such as "Thunderstorm", "Cai Wenji", "A Wise Man Will Make a Mistake" and "Courage of the Sword", and directed "Wang Zhaojun", "Li Bai", "Amulet", "The Proud One" and other dramas. Pu Cunxin grew up in the theater with his father. "Watching theater is a daily part of life for me, just like eating and sleeping."
Stills from the drama "Thunderstorm"
Stills from the drama "White Deer Plain"
Stills from the drama "Cai Wenji"
Although I watched it as a child He seemed to understand the play, but the words "The play is bigger than the sky" were engraved in Pu Cunxin's heart very early. He recalled in the book "Pu Cunxin: Me and My Role": "My father's habit is to do it before the performance. Not eating, so I often took on the task of delivering meals.There is a dark corridor in the long corridor leading from the dressing room to the stage. Children are not allowed to enter this corridor. When I go to deliver food, I often stand at the entrance of this mysterious corridor waiting for my father. I know the corridor At the end is a brilliant stage filled with lights, a mystery surrounded by a halo. "
Pu Cunxin Books Photography Zhou Bin
It was not until 1984, when the Kongzheng Repertory Theater staged "9·13 Incident" at the Beijing People's Art Capital Theater, that Pu Cunxin stood on this "mysterious" stage for the first time as an actor. Two years later (1986), during the rehearsal of the play "Qin Emperor and Sons" directed by the famous dramatist Lan Tianye, Pu Cunxin officially entered the Beijing People's Art Theater.
Recalling his feelings at this time, Pu Cunxin sighed with emotion: "Joining the Beijing People's Art Theater" Humanity gives me the feeling of "the fallen leaves return to their roots", a sense of solidity like finding a good partner and getting married. Although I am a child of Renyi, I had leg problems when I was young. As a young man, I became an educated youth and gradually drifted away from Renyi. Now I have finally entered the art world after stumbling and stumbling, and have embarked on a straight road. It seems that I can go on forever, no longer hesitate, and have no other wishes. This is another major milestone in my life. This is the new starting point of my life, and it will also be the end. As the old saying goes, ‘men are afraid of doing the wrong thing’, but I’m not doing the wrong thing. "
Beijing People's Art Photography Wu Deyu
Beijing People's Art's veteran actors are a sight to behold. Photography Wu Deyu
In an interview with a cover news reporter, he solemnly said: "Drama saved my life. Although I do not have a high school or university degree, literature and art opened a window for me, allowing me to see a broader world and various lives. Drama is a kind of education for human beings. Like reading, it shows us the diversity of the world and the various aspects of life. By watching dramas, we can gain an in-depth understanding of characters and stories from ancient and modern times, both at home and abroad, and enrich our emotions and thinking. Whether tragedy or comedy, they are the way we understand life. "
Pu Cunxin was interviewed by a cover news reporter and photographed by Zhou Bin
"Breathing is the highest state of skill"
From "Fusu" in "Qinhuang Emperor and Sons" to "Zhou Ping" in "Thunderstorm", and then to "The Parisian" "Hamlet", "Three Sisters: Waiting for Godot", "The Master of Architecture", "The Lobbyist", "Teahouse", "Under the Red Flag", "White Deer Plain", "General Coruliu Lan"... Pu Cunxin's understanding of performance is getting deeper and deeper. For example, " "Parisians" allowed him to learn to "communicate with the audience without a sense of distance", that is, to "break the fourth wall of the stage." "For the first time, I felt that by jumping in and out like this, I was both a character and myself. In hypothetical performances, this is actually the performance aesthetic concept of ‘I am, I am not’. It’s a bit convoluted to say, but it’s actually the artistic interest between authenticity and fiction. "
"Hamlet" gave him the opportunity to "express the awakening that cannot be expressed in real life, and discover my own nature that even I didn't know. The mask was off and I became real. Playing Hamlet, I felt that on the stage, actors can have the freedom to do whatever they want, which was extremely enjoyable. "When playing "Li Yu" in "Boundless Love", Pu Cunxin also once couldn't find the feeling. He concluded: "When an actor is creating a character, if he encounters the difficulty of not being able to find the feeling, I think he should relax as much as possible. , consider yourself and save others, don't force it, don't act it out, and avoid feeling like it's superfluous. "Every time
takes the stage, Pu Cunxin is eager to explore deeper connotations in the role and bring new feelings to the audience. "Pilots need to rely on various instructions and signs to ensure that the plane is flying on the correct route. These things are like us The framework and rules in artistic creation ensure that we move on the right track, but at the same time give us enough freedom and space to play and innovate.
Pu Cunxin discovered more and more that "when art reaches a certain level, the relationship between notes, colors, ink, pen and paper is often unable to be accurately expressed in language, and presents a vague state."In his eyes, "Drama is like a piece of jade waiting to be carved. I am eager to touch it and learn from it." Those areas that you have never experienced before are the truly fascinating places. "Creation is essentially the embodiment of intuition. Breathing, as the soul of performance, is the key to finding the character's personality and life state." Breathing is the highest level of skill. Only when you breathe correctly can the technique work as well as it should. "
Regarding the pursuit of art, Pu Cunxin has never stopped exploring. At the same time, he is willing to jump out of his comfort zone and perform more challenging works. Starting from October 2023, Pu Cunxin will star in the drama "Jane Eyre". In the second round of performances, despite the physical challenges, he still devoted himself to the role with enthusiasm. "The current state is actually a turning point, a transition point from 'can't' to 'can'." When you suddenly feel lost or don’t know how to do something, it’s often a sign that you’re about to discover something new. You are exploring a new area and it may feel unfamiliar at first, but as you learn more about it, you will gradually become familiar with it and master it.
stills from the drama "Jane Eyre" According to the National Center for the Performing Arts
Pu Cunxin said frankly that when he was young, he was deeply influenced by some excellent works, "In the past 20 years in the People's Arts, I also have plans to systematically learn from the older generation of artists. work. Now that I have reached the stage of their fame, I hope to learn and perform like them. So I participated in Wang Xiaoying’s National Center for the Performing Arts project, performed it in depth, and calmly entered the creation of the character’s character. This performance gave me a deeper understanding and appreciation. I believe that as long as we continue to work hard, we can perform this work even more perfectly. "
When faced with past roles, Pu Cunxin is also not satisfied with his past performances, such as the protagonist "Li Bai" in the drama "Li Bai". Talking about this classic role that he has played for more than 30 years, he said that only by in-depth Only by understanding the dilemma in Li Bai's life can we find a good performance direction. "Dilemma is everywhere, it runs through every moment of our existence. But this does not mean to imitate his appearance or image, but to understand his inner world and emotional state. What the audience sees is not only Li Bai's external image, but also the difficulties and challenges he encountered in prescribed situations and plot development, as well as his emotional expressions. "
Pu Cunxin, who is over 70 years old, plans to re-perform "Li Bai" in December 2024. "I am almost ten years older than Li Bai now, but when I stand on the stage, I seem to become him and feel His thoughts, emotions and life experiences. " He believes that only by exploring the inner world of the character more deeply can the audience believe that "Li Bai" is what he appears on the stage through his performance.
"Both the audience and I pay attention to the deep meaning behind the story. The role of the character in the story 's fate is a bridge back to that eternal topic: the dilemma they faced. These dilemmas are what we refer to and are the key to our understanding of the world. If we were in their shoes, would we be able to empathize with their emotions? This is why we watch theater and this is our mission as actors. "Pu Cunxin said.
"Performance is a technical discipline"
In the interview, Pu Cunxin summarized the "artistic spirit" in his mind. He believes that "the quality of the theater should be demonstrated through works with profound and interesting ideological connotations. ;Creators should have a sense of life, so that the work is full of the breath of life and vitality, and they need to have a clear and vivid expression method to ensure the overall perfect performance quality. "
Speaking of this, Pu Cunxin specifically quoted the words of the late famous performing artist Lan Tianye: "Don't be conceptual, don't be emotional, don't be false. Don't simply classify characters as good or bad, don't always perform according to a fixed image, and don't use general emotions to replace the character's personality. The most important thing is not to be false. Only when we truly understand the inner world of the characters can we interpret them more realistically and vividly."
In Pu Cunxin's view, excellent actors need to have solid basic skills, and then use their own life experiences and attitudes towards the world to express their understanding of the character. "Even for negative characters, actors need to have a cognition of critical realism degree, and can naturally express the character's personality. "In addition, actors need to have extensive knowledge and experience so that they can quickly judge the authenticity of something when faced with it. "The correct world view, outlook on life and values are very important for actors. They need to experience frustration, have value judgments, and compare different things and emotions in order to better shape their characters. He suggested that young actors go out more and experience life in various environments instead of just growing up in the theater. "Only through practice and experience can one truly understand the world and improve one's performance level." "
In Pu Cunxin's opinion: "Acting is a science. You don't have a temperament to become an actor, nor do you have a desire to become an actor. It is a technical subject. He also particularly emphasized the importance of "basic skills" in performance education. "To meet the standards of basic skills, we must ensure the standardization and standardization of pitch, rhythm, movements, and lines." However, in the past two or three decades, acting teaching has been marginalized to some extent by the film and television industry. Many acting school students do not meet the standards in terms of language proficiency, and teachers do not implement standards for basic line skills. But for language workers, especially drama actors, both spatial art and living language require technical standards. "
[Conversation with Pu Cunxin]
"Transfer the charm of drama to more people"
Cover News : You once said that performance requires real listening, real seeing and real feeling. Can you explain it to us?
Pu Cunxin : Everyone says this, but on the stage, we cannot completely listen, see, and feel, because it is not real. We must make full use of assumptions and understand the true and false characteristics of the stage. Those of us who understand the stage People must not only understand themselves, but also understand the audience. We cannot act based on concepts and theories alone, otherwise it is easy to make mistakes. We need to abandon all experience and re-judge the nature of perception through thinking. Just like when tasting wine and tea, every sip They all have different feelings. You need to savor them carefully to truly experience the beauty. It is impossible to have only one person performing on the stage. We need to pay attention to ourselves, the audience and various stage elements. Use literature, sound, lighting, opponents and The director's stage scheduling and organization can better display the characters. In addition, we need to learn from the ideas in Peter Brook's book "Empty Space", but it is not that the emptyer the space, the better, but the proper use of space Concept. Less does not mean good, but just right. Simple but not redundant. This is the performance realm we pursue.
Cover News : As an audience, our understanding of dialogue dramas may be relatively simple. If you were to give If you define drama, what do you think drama is?
Pu Cunxin : It’s not that simple. As an audience, your intuition is right. I need to experience how you feel when watching the drama, so that I can understand you better. Of course. , there may be gaps between us, maybe your feelings are richer than mine. However, everyone has their own opinions, which is also one of the interesting phenomena on the stage. So you are all right, no problem.
cover news : You are simply a "perpetual motion machine" on the stage of the drama. What makes you so motivated?
Pu Cunxin: In our lives, things that take a long time to grow and gestate tend to be more delicious, which is just like slow work. The truth of meticulous work. When you stand in the position that society has given you, how envious others are. However, if you still feel tired and bored, then you have the conditions and time to think about how to complete this thing better. After accumulating to a certain level, you will suddenly wake up, which is what is scientifically called quantitative change to qualitative change. Take calligraphy as an example, without a period of practice, your words will not be able to truly reflect your mind and blood. If you are not practical, If you try to find the ancient meaning of writing, those words may be regarded as ugly writing.The ancient meaning we want to pursue is actually something we can never achieve, because the ancients used brushes as their daily writing tools, while most of us now use hard pens. Although we cannot completely reach the realm of the ancients, when we accumulate to a certain extent, we can still understand it more or less. Now, we require children to write horizontally and vertically since elementary school, and to develop good penmanship and writing habits. However, if they do not write calligraphy or learn hard-pen calligraphy, then their handwriting may not have the standards and rules. In the performing arts, my standards come from those who came before me. Compared with today's young actors, I have life experience in the 1950s, 1960s, and 1970s. I have seen hard life and setbacks, which is something actors lack now. And I grew up in Beijing People's Art Institute, where there are many outstanding artists. Although the things I learned are fragmented, I can integrate these broken things and learn their performance skills. So I can play Chinese and foreign characters, including Shakespeare, Chekhov, Ibsen, including Charlotte Bronte's "Jane Eyre".
Cover News : You have been absorbing various cultures to enrich yourself. Do you have any advice for wordsmiths?
Pu Cunxin : For those who are engaged in writing work, you should be like Lan Tianye said, be a stop-and-viewer, and compete with the world to appreciate the wonders. Develop your own identification and evaluation skills by viewing various works, including those that are imperfect. Only in this way can we truly appreciate the beauty of the work and make a fair evaluation of it.
Cover News : Do you have any message for young theater people?
Pu Cunxin : The particularity of the stage is that the audience and the actors spend several hours together in the same time and space. We interpret the characters' stories and fates on stage, while the audience in the audience explores literature in depth through our performances and feels the emotions and connotations of the story. This experience is unparalleled, it touches our souls and makes us think about our own lives and values. I hope more young people can understand and appreciate the art form of drama. It not only enriches our private space, but also provides in-depth reflections on life and human nature. Therefore, drama is not only an art form for me, but also a way of life and attitude towards life. It makes me appreciate every moment of my life more and understand myself and others more deeply. I believe that through continuous hard work and learning, we can pass on the charm of drama to more people and let more people feel the power and beauty of drama art.
stills picture according to Beijing People's Art
The ancient meaning we want to pursue is actually something we can never achieve, because the ancients used brushes as their daily writing tools, while most of us now use hard pens. Although we cannot completely reach the realm of the ancients, when we accumulate to a certain extent, we can still understand it more or less. Now, we require children to write horizontally and vertically since elementary school, and to develop good penmanship and writing habits. However, if they do not write calligraphy or learn hard-pen calligraphy, then their handwriting may not have the standards and rules. In the performing arts, my standards come from those who came before me. Compared with today's young actors, I have life experience in the 1950s, 1960s, and 1970s. I have seen hard life and setbacks, which is something actors lack now. And I grew up in Beijing People's Art Institute, where there are many outstanding artists. Although the things I learned are fragmented, I can integrate these broken things and learn their performance skills. So I can play Chinese and foreign characters, including Shakespeare, Chekhov, Ibsen, including Charlotte Bronte's "Jane Eyre".Cover News : You have been absorbing various cultures to enrich yourself. Do you have any advice for wordsmiths?
Pu Cunxin : For those who are engaged in writing work, you should be like Lan Tianye said, be a stop-and-viewer, and compete with the world to appreciate the wonders. Develop your own identification and evaluation skills by viewing various works, including those that are imperfect. Only in this way can we truly appreciate the beauty of the work and make a fair evaluation of it.
Cover News : Do you have any message for young theater people?
Pu Cunxin : The particularity of the stage is that the audience and the actors spend several hours together in the same time and space. We interpret the characters' stories and fates on stage, while the audience in the audience explores literature in depth through our performances and feels the emotions and connotations of the story. This experience is unparalleled, it touches our souls and makes us think about our own lives and values. I hope more young people can understand and appreciate the art form of drama. It not only enriches our private space, but also provides in-depth reflections on life and human nature. Therefore, drama is not only an art form for me, but also a way of life and attitude towards life. It makes me appreciate every moment of my life more and understand myself and others more deeply. I believe that through continuous hard work and learning, we can pass on the charm of drama to more people and let more people feel the power and beauty of drama art.
stills picture according to Beijing People's Art
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