古装专业户撕掉标签：成毅在莲花楼之外的隐藏角色，藏着多少惊喜

古装专业户撕掉标签：成毅在莲花楼之外的隐藏角色，藏着多少惊喜

Welcome to the 88 Entertainment Channel. Please subscribe to the channel so you don’t miss the hottest news of the day. Our newsletter today includes the following. The costume professional peels off the label: How many surprises does Cheng Yi’s hidden role outside the Lotus Tower hide? 1. Judge Zhou Yian: From “Xianxia Filter” to “Human Fireworks”, how does he conquer realistic themes with “down-to-earth”? Character Highlights: In “Bottom Line”, Cheng Yi plays the rookie judge Zhou Yian, completely tearing off the “ancient idol” filter. Realistic details of the workplace: He designed small actions such as “rubbing his eyebrows and sighing” and “scrawling the facts of the case in his notebook” to restore the confusion and growth of a young judge when faced with complex cases. One viewer left a message: “When he was mediating the divorce case, the way he looked at the children reminded me of the director of the community downstairs.” The contrast between “venomous tongue” and “warmth” is cute: In the play, Zhou Yian complained about the “old-school thinking” of his old colleague, but he showed a tired look when he went through the case files alone late at night. Cheng Yi seamlessly switched the character’s “arrogance” and “sense of responsibility” through the micro-expression of “sneer fleetingly + lowering his head and rubbing his hands”, and was praised for “bringing to life the struggle of an idealist”. The “breaking circle” effect that resonates with reality: The clip in the play in which he mediates the family’s shortcomings was used by the court as legal popularization material. Some viewers even saw Zhou Yian’s poster on the wall of the neighborhood committee and exclaimed: “This judge is more real than the one in the TV series!” Potential code: Cheng Yi used “life-style acting” to prove that he can not only control the “fragmentation” of fairy tale dramas, but also be able to take root in realistic themes and use details to convey the warmth of humanity. 2. Fu Yunshen: The “affectionate doctor” in a wheelchair, how does he use his “broken body” to act as a “complete soul”? Character breakthrough: In “The South Wind Knows What I Want”, Cheng Yi challenged a disabled character for the first time, but caused controversy and heated discussions due to the “realism”. The ultimate detail of “paralysis acting”: He refused to use a substitute and used a wheelchair to complete difficult actions such as running in the rain and standing up with one hand on the wall. During the filming, he insisted on not using special effects despite his bruised knees, and was even ridiculed by netizens: “This is not acting paralyzed, it is simply self-abuse!” The redemptive power of “eye control”: When Fu Yunshen closed himself due to paralysis of both legs, Cheng Yi externalized the character’s inferiority complex through a performance of “distant eyes + tight mouth corners”; and when he was awakened by the heroine, the light that gradually appeared in his pupils was called “hope in despair” by the patient audience. Controversial word-of-mouth counterattack: Although some viewers criticized it as an “idol drama routine”, the real reaction of “gritting his teeth and enduring the pain to inject drugs” in the rehabilitation scene made the orthopedic surgeon comment on social media: “The amplitude of his muscle tremors is exactly the same as that of a real patient. ”
Potential code: Cheng Yi uses “physical confinement” to contrast “spiritual freedom”, proving that he can explore the deep emotions of the character through physical restrictions. This “acting philosophy of using pain as beauty” is highly suitable for modern dramas. 3. Gu Mansheng: A communications entrepreneur in the 1990s, can he use “technical flow” to tear off the “ancient puppet” label? The ambition of the upcoming drama “Growing Between Fingers”: Gu Mansheng, played by Cheng Yi in the drama, is his first attempt to challenge “hardcore industry roles”. Being serious about “technical details”: In order to restore the style of the communications industry in the 1990s, he taught himself circuit principles and even visited the developers of the first generation BP machine. In the play, the professionalism of “frowning and checking the circuits” when debugging equipment was commented by industry insiders: “he understands technical logic better than actors with professional backgrounds.” “The loneliness of an idealist”: Gu Mansheng’s struggle between business and technical ideals. Cheng Yi showed the character’s “romantic paranoia” through explosive scenes of “being in a daze at the code late at night” and “smashing his fist against the keyboard”. A screenwriter revealed: “He repeatedly studied the reform and opening up policy documents for a negotiation scene, and even the terminology in his lines was accurate to the year.” Resonance point of “memory of the times”: The scene in the play where he is promoting BP machines in the alley while wearing a true-to-goodness shirt was called “collective memory killer” by the post-80s audience. The barrage flooded the screen: “This is not acting, it is making a documentary!” Potential code: Cheng Yi is shifting from “costume fairy” to “era narrative”, using technical details and historical weight to explore the “hard-core expression” of modern dramas. 4. Yun Hongshen: As the “anti-hero” in spy dramas, how does he use “coldness” to subvert the “affectionate” character? The hidden treasure of the unpopular drama “Deep Dive”: The underground party member played by Cheng Yi in the drama is his “least like himself” attempt in modern roles. The challenge of “expressionless acting”: When facing the enemy, he abandoned the “eye drama” of costume dramas and used the coldness of “tight corners of the mouth + waveless pupils” to create the temperament of an agent. Comparative analysis by an audience: “The same actor, the eyes in the costume drama are flowing, and the eyes in the modern drama are like knives, without any contradiction.” The ultimate restraint of the “sacrifice drama”: before Yun Hongshen sacrificed at the end, Cheng Yi only used the movements of “slowly dropping his fingers” and “slightly raising the corners of his mouth” to convey the tragedy of “exchanging life for faith”. The central media commented: “There is no crying, but it is heartbreaking. ”
Blessed by the “heavy sense of history”: In the play, the underground work scenes between him and Ying Er intertwined personal destiny with the current of the times through the lens language of “secret conversations under an oil lamp” and “one-handed gun in a gunfight”. It was called “the epic feeling of a small-cost drama” by historians. Potential code: Cheng Yi proved that he can break out of the comfort zone of “affectionate sufferer” and interpret complex human nature with coldness and restraint. 5. Cheng Yi’s “modern drama potential”: It is not transformation, but the infinite extension of the “acting universe” and the universal adaptability of “body language”: whether it is the “eye control” of costume dramas or the “body control” of modern dramas, he can convey the soul of the character through details. The persistence of “immersive creation”: From studying bird habits for “Liu Li” to visiting technical experts for “Growing Between Fingers”, his “stupid skills” allow each character to have its own “real imprint”. The market dividend of “contrasting character design”: the audience is addicted to the “broken aesthetics” of costume dramas, and is eager to see his “human fireworks” in modern dramas. This “double-sided charm” has become the password for his continued popularity. Cheng Yi, who has torn off the label, is writing a new definition of “actor”. While the audience is still debating “who is more classic, Yu Sifeng vs. Li Lianhua?”, Cheng Yi has quietly laid the groundwork in the field of modern dramas. From a judge to an entrepreneur, from a doctor to an agent, he uses “realism” to break genre barriers and proves that good actors are not “character containers”, but artists who can “carve” characters with their bodies and souls; modern dramas are not “replacements for costume dramas”, but a testing ground for actors to break through themselves and dialogue with the times. Perhaps as netizens said: “The moment he tears off the label is the real starting point of becoming a god.”

古装专业户撕掉标签：成毅在莲花楼之外的隐藏角色，藏着多少惊喜 | 八八娱乐呀
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⏭️杨紫 | Yang Zi: https://youtube.com/playlist?list=PLQUjE3RLMApTjRQ4_o6–epovUJqdQmCS&si=MDnq_3NlzD9BCAlq
⏭️成毅 | Cheng Yi: https://youtube.com/playlist?list=PLQUjE3RLMApSJJPJeGytkDy62AfpS-Z2G&si=DXM1_VIkaKUAKOQ1
⏭️肖战 | Xiao Zhan: https://youtube.com/playlist?list=PLQUjE3RLMApSUeiZ5eBncOwyiFT2rC8fi&si=f7IlhskPYprj02Ns
⏭️赵露思 | Zhao Lusi: https://youtube.com/playlist?list=PLQUjE3RLMApShDAGtREvyHG31TVww-_s0&si=Pl_C8BFlzJPFrl9m
⏭️关晓彤 | Guan Xiaotong: https://youtube.com/playlist?list=PLQUjE3RLMApTMlF6QNNCfs-SW1pd7ubKO&si=ekTNl00bwg2WGJL3
⏭️李一桐 | Li Yitong: https://youtube.com/playlist?list=PLQUjE3RLMApSawrjWxYwz1c2ELFSt3TcY&si=LuHCUQjlMtdRPfq6
⏭️周雨彤 | Zhou Yutong: https://youtube.com/playlist?list=PLQUjE3RLMApTLsrrzNKzd20Ef44jx1C3O&si=qBt4y1GurBx5yI4i
⏭️八八娱乐呀 | Entertainment: https://youtube.com/playlist?list=PLQUjE3RLMApTMpN_wmYffIws1tD948OTa&si=eySIX9X3qgyloGWo

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