Congratulations!! Zhu Yilong was published again in Nasdaq and Reuters. This screen casting material is Zhu Yilong’s “ugly” on the Phantacity. It can be seen from the performance that he is a real actor!
The performance in a small theater is different from that in a big theater and in front of the camera. The “immersive experience” that he brought to the audience is also irreplaceable by other stages. In the small theater, the audience is closer and the uncontrollable factors influencing the performance are higher. Meanwhile, any minor mistake of the actor will be magnified in close range. In the meantime, the small theater also means that the actor needs a lot of things to play in the field.
There are some ineluctable mistakes in Zhu Yilong’s performance, which is not important. However, the important part is his improvisational performance. We can see that his performance is quite random, which needs a solid foundation. The audience can easily tell if the actors in the small theater are engaged, but this kind of input is not intentional, but is an actor’s ability to integrate into the scene and the role as well as to drive the audience’s emotions. Zhu Yilong’s running posture, the blue vein representing emotions, and some minor body movements when singing all lead the audience’s emotions. The overall feeling after the performance can be summed up in one sentence – knowing he is acting, but it’s not like he is acting.
Therefore, it can be associated with his previous roles on screen, such as Lian Chengbi in the New Xiao Shiyilang, Ying Ji in the Legend of Mi Yue, and Shen Wei in the Guardian. His acting skills show some details beyond the attributes of the original role, giving people a refreshing feeling.
But this time it is a new feeling, perhaps because of the charm of the opera or the proximity of the performance that brought out his strengths.
Come on, Zhu Yilong!
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