The initiative post:

TIPS: Unfortunately, the scene clip and screenshot don’t have English subtitles, I have added English translation in screenshot for you.

In week 2 of Thursday’s class, we have discussed a new concept in the tutorial called “improvisation.” According to Judith, she indicates that “Improvisation confers a deep permission to center the scene in its relationships and intentions” and “improvisation gets the scripts out of the actors’ hands—taking risks, trusting each other” (Judith, 2017).

I personally feel that the importance of improvisation performance is, it can cultivate the ability of judgment and can make the actor temporarily break away from the habit of acting to a certain extent, and think and judge. Planned improv training can develop the responsiveness of actors. The practice of improvisation can help actors find the most expressive action in the scene. As revealed by Judith, “the only way improv can work is if there is total freedom and trust” (Judith, 2017). It is the truth. As a director, we must encourage the improvisation of the actors. The director is the mirror of the actor. When improvising, the director needs to point out which performances are organic, feasible, and can be tapped and extended. But pay attention to the way and method: sometimes the actors are in the mood, and there will be many attempts to improvise. At this time, as a director, you cannot blindly obliterate and criticize. To trust the actors, the actors’ improvisation creation at this moment may be a grain of gold to the director, to encourage, not to scold, even if the performance is illogical, just point out what is inappropriate, the actors are Fragile, the creation of improvisation is very precious, and the director must cherish it. Another benefit of improvisation is that it allows the actor to create fleshed-out characters. This means that the director will always help the actor find a role and create a character as soon as possible during rehearsals. 

Take a scene from the film “Infernal Affairs” as an example.It is a gangster film, and the overall story is about two men with confusing identities who are undercover for the police and the triads, and after a fierce struggle, they are determined to find their way back. Specifically, I picked this scene where Lieutenant Huang and Yongren Chen (Undercover) are talking on the rooftop, Yongren Chen said “three years after three years,” three years after three years again.” These two lines were improvised by Chaowei Liang, who is playing the role of Yongren Chen. In just a few words they convey the heartache of being an undercover agent for almost ten years. In relation to how to turn the characters in the script into vivid “person”? Chaowei Liang created a concrete image of the character in this improvised performance. It reflects the most primitive and impulsive creative desire from his heart, and reproduces the most real emotions and inner feelings that the characters in the play can generate at that time.

Screenshot from the film”Infernal Affairs” scene

As far as I am concerned, improvisation is a useful concept in directing the performance. Having great help in shaping the characters. Especially during the rehearsal process, as a director, you need to constantly screen the actors’ improvisations, record those better and more accurate performances. A way to help actors create sharper, fuller characters. 

Here is the link to “Infernal Affairs scene”, just in case if you want to watch for any purpose.

Infernal Affairs scene

Reference：

Weston, J., 2017. Directing Actors.