中国影视圈的“抠图式”表演乱象
今年年初爆火的电视剧《孤芳不自赏》，因其“只拍近景特写，只要不露脸的镜头都用替身”的“抠图”式演法引发广泛争议。而近期著名编剧宋方金的一篇犀利文章，再次揭示了当下中国影视圈中“抠图式”表演的严重程度，令人咋舌。
症状一：以空气为对手戏对象
宋方金的长文中，一位实力派演员（简称Y演员）描述了当前剧组普遍存在的“替身乱象”。Y演员指出，为了缩短拍摄时间，剧组会“分ABC三个组拍，主角是串不开的”。问题在于，演员即便不用替身，剧组也要强行安排替身。Y演员举例说，自己的戏份集中在3天内拍完，其余部分全部由替身完成，原因竟是“为了省钱。替身一天两三百就解决了。”
这样的做法导致了严重的表演问题。Y演员表示，自己面对的演出对象是空气，本该有的摔倒、对白等对手戏互动完全无法进行，无法做出相对应的语言、表情和情感反应。
症状二：演员不再背台词
Y演员提出的另一个“怪象”是“连台词都不背了”。他说：“现在拍戏，别人说一句提醒他，他跟着说一句，不是个例，大部分年轻演员都这样。”早在2005年，Y演员遇到记不住台词的对戏演员时，导演还会通过多次重拍来强迫演员背下台词。然而近年来，他却遭遇了令他崩溃的情况：在催泪感情戏中，Y演员每次演都很有感情，但对戏的 S 演员却连简单的几句台词都背不下来，导致 Y 演员无法继续酝酿情感，最终不得不让副导演逐句念台词，由 S 演员跟着重复。
症状三：主角只“拍脸”
基于上述“怪象”，Y 演员直言，现在的电视剧，尤其是 IP 改编剧，完全将演员塑造人物的过程简化成了“只拍一张脸”。宋方金在文中提到，Y 演员举例说，“有个 IP 剧，男一号只用半个月拍完了好几百场戏。香港导演让他对着天、对着大树，或是对着墙，表演各种角度、表情，拍完表情就走人。”这种做法如同“表情包演员”，主角的表演完全依靠替身。
症状四：导演以“小鲜肉”为中心
Y 演员在与宋方金的对话中还提到，现在拍戏已经从以往的导演中心制变成了“小鲜肉中心制”。“小鲜肉、IP 演员，只要一到现场，就必须先拍他，别的演员得等。”Y 演员说，自己就遇到过，自己还差一个镜头就拍完了，但遇上小鲜肉演员来了，全组都得放下手头的活儿，等小鲜肉演员花两三个小时拍完四场戏后再拍的情况。
这种情况的出现与市场规律有关。Y 演员表示，影视公司更愿意卖具有影响力的演员，电视台为了收视率也会选择购买这样的演员。电视台买的是演员的人气，而不是他们的演技。而导演在这种情况下也没有话语权，只能按照市场规律办事。
这些“抠图式”表演乱象的出现，一方面源于一些制作方的“偷工减料”行为，另一方面也反映了目前中国影视行业中畸形的商业模式。演员的演技不再是作品质量的衡量标准，而流量明星带来的热度和关注度成为了制作方追逐的重点。这种现象不仅损害了中国影视剧的质量，也影响了观众的审美水平。
业内视角（某上海影视文化公司营销推广总监刘艺）: filming for commercial success is an intrinsic motivation for producers and actors. That's why you see directors vying for popular idols. The issues raised by Mr. Song can, to some extent, be considered self-inflicted by the industry. I agree with a colleague who observed that most people within the entertainment circle who have been victims of unfair treatment have also been unwitting perpetrators. Mr. Song's account and appeal have merit. As the film market has witnessed in recent years, when a mediocre offering emerges, it faces major backlash. Only when audiences' preferences change and their tastes improve can the market truly regulate itself, allowing quality productions to thrive.
Fellow Artist Speaks Out: Veteran Actor Insists on Doing Own Stunts
On the morning of July 7, director Liu Meng wrote on his Weibo account, "Mr. Song Fangjin's article isn't groundbreaking; he's simply stating the obvious in the face of those who turn a blind eye." Liu Meng believes that the main point of Mr. Song's article is to condemn using stunt doubles when it's unnecessary. "Here's where the veteran actors stand out," said Liu Meng. During the filming of I Am a Special Commando 2, he recalled, Mr. Gao Ming, an experienced actor, played He Chengguang's grandfather. "There was a scene where we mainly focused on the young He Chengguang's actions, but his grandfather's hand was shown in the frame." Considering that Mr. Gao was advanced in age, the assistant director was about to step in with his costume when "without a word, the venerable actor approached, shoved aside the assistant director, donned his costume, and joined the scene—and all for a brief shot of his arm!"
On the morning of July 7, acclaimed actress Yan Bingyan also shared Mr. Song Fangjin's article on Weibo, lamenting, "Genuine actors like us who diligently stand in for close-ups and deliver our lines without relying on connections are on the verge of becoming obsolete... These shallow, self-serving individuals only care about fame and using their physical attributes to gain popularity while they're young... They're immature and lack guidance from responsible adults."
Actress Ke Lan also shared and commented on the article, saying, "My mentors taught me that acting is about delving into human nature and understanding life. Your performance depends on your castmates... Ultimately, when it comes to emotion, superficiality doesn't suffice." On the afternoon of the following day, Mr. Song Fangjin reposted this comment, condemning the actors in question as "mere accessories and performers without substance, far removed from true humanity."
(Yangtze Morning News-Chongqing Times reporter Qiu Jinyi)