全世界最好的电影学院

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很多年前，郝蕾放下了雄心壮志，她渴望成为那位被载入表演教科书的演员。多年来，她不仅在作品中持续展现被誉为“教科书级别”的演技，还开始探索表演领域的专业书籍，并担任表演类综艺节目的评委，与同行和观众讨论表演艺术。如今，身为国内备受尊敬的演员，她还增加了一个与她专业梦想息息相关的新身份——表演系主任。

8月31日，在上海温哥华电影学院的秋季开学典礼上，新的系主任揭晓——郝蕾。她得到院长贾樟柯的推荐，正式上任。在这所仅有一年制度、沿袭北美教育体系的学院，郝蕾怀揣憧憬，准备与学生们共同探索未知的梦想之旅。

她在开学典礼的第一堂课上，不仅向新生们传授表演的基本知识，还以自己的经历提示大家，表演的起点是了解自己。

"Good actors are often shy; they need to hide behind characters," said 郝蕾. In her life, she has remained low-key, rarely revealing her true self in the public eye. This time, as the head of the department, she has no role to shield her; everything she teaches and communicates comes from her own experiences. It's a new identity she must adapt to.

The afternoon after the opening ceremony, 郝蕾 taught her first acting class at Wenyang. She's not a product of traditional drama schools and has been away from the educational scene for a while. Returning to the classroom, she shared her journey of becoming an actress, rekindling many experiences from the early days of her dream. Her storytelling, filled with anecdotes, often sparked laughter and created an unspoken connection with her students.

"On my first day of acting class, the teacher asked me to play a balloon," 郝蕾 said, raising her hands above her head to draw a circle. "I stood with my legs straight, imagining I was a balloon with a stick. It was a bizarre exercise, and, in fact, it didn't help with my subsequent performances at all."

She wanted to introduce something different to the traditional methods of acting education, combining some of her own approaches and insights developed over the years with the North American teaching system adopted by Wenyang. She emphasized that modern acting education has moved far beyond the surface-level concept of "liberating one's nature," and there is a continuous global exploration of what constitutes good acting and how to teach it.

Every student applying for the acting department is asked why they want to study acting. 郝蕾, with many years of experience, also occasionally questions herself, "The initial motivation changes. Sometimes, I think it was simply because of vanity. Sometimes, I experience the joy of solitude that only I can understand. I feel that I enjoy and it's worth it." She posed this question to her students, and most of the responses revolved around curiosity; young people want to experience different lives. However, for her, the answer is quite the opposite. "I want to understand myself deeply through various characters," 郝蕾 explained. "I want to see what kind of person I truly am, which is the most challenging part. To experience someone else's life is important, but the more crucial question is who is experiencing it, why, and how. This must be based on a profound self-understanding, or else we cannot control it."

This question is something 郝蕾 observed when she served as a judge on acting reality shows. She believes it's a common issue, not only among young actors but also experienced ones. "If you don't understand yourself, how can you play other characters effectively and shape different personalities? Understanding yourself is an extremely challenging process. Many times, acting is a discipline exploring humanity. It's not just about mimicking; it's a deeper exploration, not just surface-level skills. I hope that my year at this school, working with other teachers and our students, can help find methods to solve this problem."

In the early years of her career, 郝蕾 faced confusion. She excelled as a student in school, with excellent grades in her early years, thinking that this would make her a great actress. However, as she moved into the senior years, she could memorize six pages of script at once but lost her passion for acting. She felt like she was just completing assignments given by her teachers, and there was no excitement in her. The teaching at the drama school followed a certain paradigm, but when she joined film crews, she encountered actors from Hong Kong and Taiwan who seemed to live their roles. This was a terrible experience for her. She often needed external validation to find her confidence, and she spent a long time feeling lost.

It was during her time on the set of "Fat Cat's Happy Life" that Joe Cheung told her she could act like real life. Afterward, through extensive film analysis, 郝蕾 developed her own aesthetic standards.

"Many people ask me what makes a good performance. In fact, ordinary viewers can't judge instantly whether it's good or not. The simplest criterion is sincerity and moving the audience. If the audience can relate, the actor has done their job well. But acting is a complex art. It involves the psychology of characters and many techniques, such as vocalization, physical expression, and how actors perceive the world, and how they express themselves. Most of the time, I evaluate a performance based on how a character reacts and chooses in a given situation. Some say there's no such thing as a good or bad performance; I disagree. I think there's a clear distinction. Most of the time, actors choose the most conventional methods, which, for me, constitutes bad acting. If there are only predictable, formulaic reactions, why do we need different actors to perform?"

During one interesting class segment, 郝蕾 wanted students to experience what "acting" truly meant, and she invited two students to the stage to sit where she and the executive department head, Lawrence, were discussing and have them perform a conversation.

The "Department Head" asked "郝蕾," "In a bad performance, should we blame the screenwriter, director, or the actors?" The student playing "郝蕾" on stage responded, "I don't know how to answer that question because I've never acted in a bad performance." "Not even one? Are you saying 郝蕾 never acts

in a bad performance?" insisted the student playing the department head.

This is the impression 郝蕾 has left on the audience. She has consistently collaborated with great directors and worked on excellent projects, always elevating her performances through her skills and dedication.

When it comes to acting, students who are just beginning to explore the field have many questions, including technical aspects, self-discovery, and industry-related challenges. In her responses, you can see how 郝蕾 has evolved into the artist she is today.

Students who have already had some experience in film complain about the unprofessionalism of the sets, poor scripts, and a lack of respect for actors by the crew. 郝蕾 responds, "Every actor starts from very small roles. It's not just about encountering unprofessional sets, it's more about facing unprofessionalism when you start from scratch. So, how do you digest these experiences and grow from small roles to big actors? I can't teach you specific things, but I can offer one piece of advice: no matter how bad the play is, it shouldn't reflect poorly on me. I've always demanded that from myself."

Some students ask how to handle characters with conflicting values or those they can't relate to. 郝蕾 advises, "In fact, every character I play is different from myself, but each character is my friend. I imagine a real-life person and consider how to understand them if I must befriend them. As long as the character is written to be authentic, you can find a way to understand through your own analysis and thinking. In life, it's important to have a broader perspective, learn to accept and understand various kinds of people."

When 郝蕾 emphasizes the importance of analyzing characters and living within certain contexts, students express their concerns about rehearsing avant-garde theater productions, where they need to portray more "conceptual" characters, and classic plays like "Waiting for Godot" or "The Bald Soprano" are hard to come by. 郝蕾's answer is simple, "Read more, improve your knowledge, and describing concepts in words doesn't hold much meaning."

Of course, formal education at the school covers the basics and technical aspects, even though 郝蕾 doesn't often emphasize the technical side, and she once felt unhappy when director Lou Ye praised her for her "excellent technique." Nevertheless, she believes that strong foundational skills are essential for a good actor. "When I worked with actors like He Bing, he compared acting to welding. As a welder, you first need the technical skills, and the finesse of your welds comes later. So, fundamental skills like standard Mandarin, delivering lines, and emotional experience are always the actor's most basic abilities. But helping each student discover their individuality and personal growth in acting is the 'spiritual' aspect of acting. The artistic industry is not a production line, especially in acting. Teachers need to make more observations and research."

As for her role as the head of the department, 郝蕾 admits she doesn't yet know what to expect. "We will create a dream together using our life experiences, even if we don't know what kind of dream it will be. After this year, we might become colleagues or partners. We're about to embark on a journey to create dreams that may be good, bad, exciting, or even terrible, but the unknown is what makes it interesting," she said during the opening ceremony to her first class of students.

责任编辑：张喆校对：栾梦

这位演员兼教育家，一直以来都在不断探索表演艺术的更深层次，引领着学生们踏上这段充满挑战和惊喜的旅程。她的课堂不仅仅是技巧的传授，更是关于自我认知和成长的学习之旅。她鼓励学生超越传统，勇敢地去发掘角色，去理解角色所处的情境，并通过深刻的分析和思考找到角色的灵魂。

郝蕾也强调，无论戏剧是否糟糕，演员应当在自己的能力范围内尽力而为，不让糟糕的戏剧影响到自己。这种对工作的敬业精神和自我要求，不仅是她自己一直秉持的原则，也是她希望传授给学生们的重要品质。

在郝蕾的教学中，艺术不是简单的模仿，而是深入的探索，是对角色心理学的研究，是对世界的理解，是如何用自己的方式表达。她鼓励学生打破惯常，去超越表面，去发现更多可能性，因为表演不应该是一成不变的。她相信，通过她的努力和学生们的共同探索，他们将能够找到更好的表演方法，创造出令人赞叹的演出。

对于新的身份，郝蕾可能还在适应中，但她充满了热情和信心。在她的引领下，温哥华电影学院的学生们将迎来一段充实而充满挑战的学习之旅，他们将与郝蕾一同探索未知的梦想，创造属于他们自己的精彩故事。这个故事，将在未来的时光中继续书写。

启示：

郝蕾作为新任表演系主任，她的经历和理念提供了许多启示。首先，她强调了对自我认知的重要性。在表演之前，她鼓励学生先认识自己，了解自己的内在世界。这一观点表明，表演是一个关于人类心理和人际关系的探讨，必须建立在深刻的自我认知之上。这也适用于生活中的许多方面，自我认知是成功的关键。

其次，郝蕾提到了表演的复杂性。她强调表演不仅仅是技巧，而是一门深刻的学科，涉及到人物心理学和情感表达。这告诉我们，表演是一门艺术和科学的结合，需要演员不断学习和探索。

此外，她提到了不拘泥于传统表演方式的必要性。郝蕾鼓励学生尝试不同的表达方式，避免程式化的反应。这提醒我们，在各个领域，创新和突破传统可以产生出色的成果。

总结：

郝蕾的经验和理念为表演艺术教育提供了宝贵的见解。她强调了自我认知的重要性，这是追求成功和成为杰出演员的关键。此外，她强调了表演的复杂性，表演不仅仅是技巧，还包括心理学和情感表达。她的观点还强调了创新和不拘泥于传统的重要性，这对于各个领域都是关键因素。

在新的表演系主任身份下，郝蕾将与学生们一起探索未知的梦想。这个过程将充满挑战，但也充满机会。无论是作为学生还是专业人士，我们都可以从她的经验和教导中汲取深刻的启示，追求自我认知，尊重复杂性，勇于创新，这些都是通往成功和成就的道路上的重要支柱。这也提醒我们，教育是一个不断发展和进步的过程，我们应该不断寻求新的方法和思考方式，以提高自己和塑造更好的未来。

在郝蕾担任表演系主任的职位下，这个学院将面临新的挑战和机遇。她所强调的自我认知、表演的复杂性和不拘泥于传统的理念将不仅仅适用于表演艺术领域，还可以影响教育和职业发展的其他方面。

首先，自我认知是通往成功的基石。不仅在表演中如此，在生活中，了解自己的愿望、优势、弱点和价值观是至关重要的。这有助于人们找到适合自己的职业和生活路径，并更好地应对挑战。教育领域也可以受益于这一理念，教育者可以帮助学生发现他们的兴趣和潜力，引导他们朝着适合自己的道路前进。

其次，表演的复杂性提醒我们，许多领域都需要深入的学习和探索。无论是在科学、艺术、商业还是其他领域，都存在复杂的因素和关系。这需要我们持续学习、分析和改进。在教育中，这意味着培养学生的批判性思维、问题解决能力和创新精神，以便他们能够适应不断变化的世界。

最后，不拘泥于传统是创新的关键。郝蕾的观点强调了创造性思维和勇于尝试新方法的重要性。这对于在任何领域中取得突破性成就都是至关重要的。在教育中，我们也可以采用这一理念，鼓励学生超越传统的学习方法，以发展创新的技能和想法。

总之，郝蕾作为表演系主任提供了许多深刻的启示，适用于广泛的领域，包括教育和职业发展。她的经验和理念鼓励我们更好地了解自己，勇于面对复杂性，同时勇敢创新。这些都是通往成功和成就的关键要素，无论我们追求什么领域的梦想。

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