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很多年前，郝蕾放下了雄心壯志，她渴望成為那位被載入表演教科書(shū)的演員。多年來(lái)，她不僅在作品中持續(xù)展現(xiàn)被譽(yù)為“教科書(shū)級(jí)別”的演技，還開(kāi)始探索表演領(lǐng)域的專(zhuān)業(yè)書(shū)籍，并擔(dān)任表演類(lèi)綜藝節(jié)目的評(píng)委，與同行和觀眾討論表演藝術(shù)。如今，身為國(guó)內(nèi)備受尊敬的演員，她還增加了一個(gè)與她專(zhuān)業(yè)夢(mèng)想息息相關(guān)的新身份——表演系主任。

8月31日，在上海溫哥華電影學(xué)院的秋季開(kāi)學(xué)典禮上，新的系主任揭曉——郝蕾。她得到院長(zhǎng)賈樟柯的推薦，正式上任。在這所僅有一年制度、沿襲北美教育體系的學(xué)院，郝蕾懷揣憧憬，準(zhǔn)備與學(xué)生們共同探索未知的夢(mèng)想之旅。

她在開(kāi)學(xué)典禮的第一堂課上，不僅向新生們傳授表演的基本知識(shí)，還以自己的經(jīng)歷提示大家，表演的起點(diǎn)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. Its a new identity she must adapt to.

The afternoon after the opening ceremony, 郝蕾 taught her first acting class at Wenyang. Shes 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 didnt 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 ones 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 its 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 elses 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 its a common issue, not only among young actors but also experienced ones. "If you dont 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. Its not just about mimicking; its 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 Cats 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 cant judge instantly whether its 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 theres no such thing as a good or bad performance; I disagree. I think theres 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 dont know how to answer that question because Ive 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. Its not just about encountering unprofessional sets, its 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 cant teach you specific things, but I can offer one piece of advice: no matter how bad the play is, it shouldnt reflect poorly on me. Ive always demanded that from myself."

Some students ask how to handle characters with conflicting values or those they cant 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, its 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 doesnt hold much meaning."

Of course, formal education at the school covers the basics and technical aspects, even though 郝蕾 doesnt 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 actors 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 doesnt yet know what to expect. "We will create a dream together using our life experiences, even if we dont know what kind of dream it will be. After this year, we might become colleagues or partners. Were 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.

：張喆校對(duì)：欒夢(mèng)

這位演員兼教育家，一直以來(lái)都在不斷探索表演藝術(shù)的更深層次，引領(lǐng)著學(xué)生們踏上這段充滿(mǎn)挑戰(zhàn)和驚喜的旅程。她的課堂不僅僅是技巧的傳授，更是關(guān)于自我認(rèn)知和成長(zhǎng)的學(xué)習(xí)之旅。她鼓勵(lì)學(xué)生超越傳統(tǒng)，勇敢地去發(fā)掘角色，去理解角色所處的情境，并通過(guò)深刻的分析和思考找到角色的靈魂。

郝蕾也強(qiáng)調(diào)，無(wú)論戲劇是否糟糕，演員應(yīng)當(dāng)在自己的能力范圍內(nèi)盡力而為，不讓糟糕的戲劇影響到自己。這種對(duì)工作的敬業(yè)精神和自我要求，不僅是她自己一直秉持的原則，也是她希望傳授給學(xué)生們的重要品質(zhì)。

在郝蕾的教學(xué)中，藝術(shù)不是簡(jiǎn)單的模仿，而是深入的探索，是對(duì)角色心理學(xué)的研究，是對(duì)世界的理解，是如何用自己的方式表達(dá)。她鼓勵(lì)學(xué)生打破慣常，去超越表面，去發(fā)現(xiàn)更多可能性，因?yàn)楸硌莶粦?yīng)該是一成不變的。她相信，通過(guò)她的努力和學(xué)生們的共同探索，他們將能夠找到更好的表演方法，創(chuàng)造出令人贊嘆的演出。

對(duì)于新的身份，郝蕾可能還在適應(yīng)中，但她充滿(mǎn)了熱情和信心。在她的引領(lǐng)下，溫哥華電影學(xué)院的學(xué)生們將迎來(lái)一段充實(shí)而充滿(mǎn)挑戰(zhàn)的學(xué)習(xí)之旅，他們將與郝蕾一同探索未知的夢(mèng)想，創(chuàng)造屬于他們自己的精彩故事。這個(gè)故事，將在未來(lái)的時(shí)光中繼續(xù)書(shū)寫(xiě)。

啟示：

郝蕾作為新任表演系主任，她的經(jīng)歷和理念提供了許多啟示。首先，她強(qiáng)調(diào)了對(duì)自我認(rèn)知的重要性。在表演之前，她鼓勵(lì)學(xué)生先認(rèn)識(shí)自己，了解自己的內(nèi)在世界。這一觀點(diǎn)表明，表演是一個(gè)關(guān)于人類(lèi)心理和人際關(guān)系的探討，必須建立在深刻的自我認(rèn)知之上。這也適用于生活中的許多方面，自我認(rèn)知是成功的關(guān)鍵。

其次，郝蕾提到了表演的復(fù)雜性。她強(qiáng)調(diào)表演不僅僅是技巧，而是一門(mén)深刻的學(xué)科，涉及到人物心理學(xué)和情感表達(dá)。這告訴我們，表演是一門(mén)藝術(shù)和科學(xué)的結(jié)合，需要演員不斷學(xué)習(xí)和探索。

此外，她提到了不拘泥于傳統(tǒng)表演方式的必要性。郝蕾鼓勵(lì)學(xué)生嘗試不同的表達(dá)方式，避免程式化的反應(yīng)。這提醒我們，在各個(gè)領(lǐng)域，創(chuàng)新和突破傳統(tǒng)可以產(chǎn)生出色的成果。

總結(jié)：

郝蕾的經(jīng)驗(yàn)和理念為表演藝術(shù)教育提供了寶貴的見(jiàn)解。她強(qiáng)調(diào)了自我認(rèn)知的重要性，這是追求成功和成為杰出演員的關(guān)鍵。此外，她強(qiáng)調(diào)了表演的復(fù)雜性，表演不僅僅是技巧，還包括心理學(xué)和情感表達(dá)。她的觀點(diǎn)還強(qiáng)調(diào)了創(chuàng)新和不拘泥于傳統(tǒng)的重要性，這對(duì)于各個(gè)領(lǐng)域都是關(guān)鍵因素。

在新的表演系主任身份下，郝蕾將與學(xué)生們一起探索未知的夢(mèng)想。這個(gè)過(guò)程將充滿(mǎn)挑戰(zhàn)，但也充滿(mǎn)機(jī)會(huì)。無(wú)論是作為學(xué)生還是專(zhuān)業(yè)人士，我們都可以從她的經(jīng)驗(yàn)和教導(dǎo)中汲取深刻的啟示，追求自我認(rèn)知，尊重復(fù)雜性，勇于創(chuàng)新，這些都是通往成功和成就的道路上的重要支柱。這也提醒我們，教育是一個(gè)不斷發(fā)展和進(jìn)步的過(guò)程，我們應(yīng)該不斷尋求新的方法和思考方式，以提高自己和塑造更好的未來(lái)。

在郝蕾擔(dān)任表演系主任的職位下，這個(gè)學(xué)院將面臨新的挑戰(zhàn)和機(jī)遇。她所強(qiáng)調(diào)的自我認(rèn)知、表演的復(fù)雜性和不拘泥于傳統(tǒng)的理念將不僅僅適用于表演藝術(shù)領(lǐng)域，還可以影響教育和職業(yè)發(fā)展的其他方面。

首先，自我認(rèn)知是通往成功的基石。不僅在表演中如此，在生活中，了解自己的愿望、優(yōu)勢(shì)、弱點(diǎn)和價(jià)值觀是至關(guān)重要的。這有助于人們找到適合自己的職業(yè)和生活路徑，并更好地應(yīng)對(duì)挑戰(zhàn)。教育領(lǐng)域也可以受益于這一理念，教育者可以幫助學(xué)生發(fā)現(xiàn)他們的興趣和潛力，引導(dǎo)他們朝著適合自己的道路前進(jìn)。

其次，表演的復(fù)雜性提醒我們，許多領(lǐng)域都需要深入的學(xué)習(xí)和探索。無(wú)論是在科學(xué)、藝術(shù)、商業(yè)還是其他領(lǐng)域，都存在復(fù)雜的因素和關(guān)系。這需要我們持續(xù)學(xué)習(xí)、分析和改進(jìn)。在教育中，這意味著培養(yǎng)學(xué)生的批判性思維、問(wèn)題解決能力和創(chuàng)新精神，以便他們能夠適應(yīng)不斷變化的世界。

最后，不拘泥于傳統(tǒng)是創(chuàng)新的關(guān)鍵。郝蕾的觀點(diǎn)強(qiáng)調(diào)了創(chuàng)造性思維和勇于嘗試新方法的重要性。這對(duì)于在任何領(lǐng)域中取得突破性成就都是至關(guān)重要的。在教育中，我們也可以采用這一理念，鼓勵(lì)學(xué)生超越傳統(tǒng)的學(xué)習(xí)方法，以發(fā)展創(chuàng)新的技能和想法。

總之，郝蕾作為表演系主任提供了許多深刻的啟示，適用于廣泛的領(lǐng)域，包括教育和職業(yè)發(fā)展。她的經(jīng)驗(yàn)和理念鼓勵(lì)我們更好地了解自己，勇于面對(duì)復(fù)雜性，同時(shí)勇敢創(chuàng)新。這些都是通往成功和成就的關(guān)鍵要素，無(wú)論我們追求什么領(lǐng)域的夢(mèng)想。

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