A Probe Into The Cultivation Of The Inner Visual Image Of The Characters Of The Opera Actors

In the drama stage performances are often referred to Mr.X,Swiss actors such praise,the study just thought the actor was enlightened.In the learning and teaching of many years of experience to the fact,the term "acting heart" is Stanislavski mentioned the inner video.The opera performers are limited by the inherent program action performance,which can not be used to display the movements and language of the characters.And most of the program action is no physical performance,so the performance of the characters wrapped up,how can make a vivid,vivid,and distinct character? The inner vision is the true existence which can make the characters real and flesh and blood.The existence of the characters makes the characters of the stage of the opera no longer dull and ungrounded.In this paper,we use literature analysis,comparative research,access method,theory and practice to combine the methods of our research,and summarize the process of building the inner visual situation of people through their own stage practice.A large number of related data were consulted to understand the construction of other stage performances in the inner vision of the characters,and distinguish the difference between the inner vision and other categories of the opera.By studying the experience of the old artists,the teaching methods of cultivating the inner visual image of the stage characters of the opera are explored.In the first chapter,the introduction is mainly to explain the origin of the topic,the significance of the study,the characteristics of the research and the importance of the inner vision.The second chapter is the inner view of the stage characters,and gives the definition of Stanislavski's inner vision.The role of the inner visual image in the stage performance and the construction of the inner vision of the role are put forward.At the same time,it also puts forward the relationship between the inner visual image and the stylized performance of the opera stage performance,and the relationship between the inner visual image and the inner emotion.The difference between the inner view of the stage characters and the inner view of the stage performance of the opera is analyzed.The limitations of the inherent program action of the opera have been highlighted,and the inner vision plays a more important role in the stage performance of the opera.The third chapter is the training steps of the inner vision.Specifically,there are imaginary teaching methods,enlightening teaching methods,and questioning teaching methods.According to the exploration of the three teaching methods in the teaching,the students can guide the students to cultivate the ability and habits of the inner vision.The "fugitive" with the case,according to the characters of mood swings,environment and thinking,the full release of the students for the inner visibleimage imagination,try with the same emotional things into the inner video.As far as possible,there is a picture of the physical existence or the image of the place where the eye can reach the stage.There is no void in the eyes and no blanks in the emotion.Not only do technical skills "artisan",with rich inner visual characters on stage more vigor.