From The Establishment Of "Inner Image" To Characters

The theory of “Inner Image” can be both simple and complex: it can besummarized by a few words; and you can also write a book to intrude its connotation.It’s core contents is the essence of the Soviet union’s drama-master’s theory, forexample, Danchenko, Chekhov, and Stanislavski. In this foundation, Jiao juyin appliedsome training of Xiqu’s performance and integrated some aesthetics of Xiqu, therefor,he created the theory of “Inner Image”! Maybe it is one subset of the Stanislavski’system, in which many of its connotation can be found. But it’s expression not onlyaccord the way of Chinese thought, but also understood quite briefly. The theory of“Inner Image” is generally regarded as beginning of his directing of “LongXuGou ".Sum them up, that is "first let role’s life in yours, and then you can live in the role."Everyone who researches the theory of “Inner Image” has their own views, or hasdifferent emphases, but they will have a same view, which is emphasizing the unity ofthe heart and appearance, and emphasizing the importance of drama’s nationalization.Of course, the theory of “Inner Image” is just part of Jiao juyin’s performance theory, inorder to understand his drama thought, we must research other views. Because ofprofessional limit, I can’t use more pieces to discuss his other drama thought, like"poetic present" and "playing in a form of nationalization.In the first chapter, this article discusses Jiao juyin’s drama thoughts and his earlydrama activities, at the same time, to introduce his theory achievements and significanceabout "poetic presentation and director of the two degrees creation", and "thenationalization of drama". The second chapter, focuses on the definition and connotationof the theory of “Inner Image”, which main points can down to: Periodicity, objectivity,Individual and variability. Also, I have contrasted the correlation about the theory of“Inner Image” and the Chinese aesthetic, and I think that the theory of “Inner Image”has Chinese aesthetic spirit. Chapter3, probes into how to use the theory of “InnerImage” to create the characters, including the script analysis, performance diary,character autobiography, the experience of life, and typical refinement and scenictransformation. When we establish characters, we must pay attention to thecommunication of ideas, action basis, and the importance of stage truth.