| Based on the creation process of the actors in the micro-film Shuya’s Marriage,th is paper attempts to systematically analyze and study the methods of inner experience an d external expression of actors in the process of creating roles by combining their own ex perience in film and television performance with relevant art theories.First is a reflection of the actors on the text and the role of tone,it is cast into the r ole of inner experience one of the most important key point,the actor on the basis of the playwright with the plot,analyze the central idea,determine the role of the supreme missi on,through the role of external motion capture internal logic characters,to experience the character inner world fulcrum.To a certain extent,the actor can achieve a deep experien ce of the character’s heart is due to the actor’s thorough analysis of the script.Secondly,in the process of creating characters’ inner experience,the author focuses on two aspects: pretence and authenticity.Art is a reproduction of life,but it is not the sa me as life.It is close to the reality of life to the greatest extent,but it is unavoidable that i t realizes the reality of art under the premise of assumption.The actor plays a fictional ch aracter under the playwright’s pen.On the premise of giving him real human characteristi cs,the actor must create the most real "him" under the assumption.Thirdly,the actor creates the external performance of the character.Sincere feelings overflow in words,and inner emotions are always perceived by the outside world in an a ppropriate way.Therefore,the author conducts feasibility analysis based on the design of the role’s external actions and its auxiliary factors.In view of the film and television perf orming arts,the performance skills are summarized to find the most appropriate way of e xpression for the role.Finally,the author discusses the perfect integration of inner experience and external performance of actors in the process of presenting their roles,and rationally analyzes the relationship between them in the actual performance process and actors’ control over the role. |