After a while, Yin Lian laughed and said, "I remembered that you might be suitable for another role."
Anil didn't expect that Yin Lian thought about it for so long and finally said something like that.
He was a little surprised, and tried not to look anxious, and asked: "Is there something wrong with my acting?"
Yin Lian was silent for a while and then said: "It's not that there's something wrong with the acting, it's just that my temperament... doesn't suit the role of the Mage King."
Yin Lian said it more implicitly.
To put it bluntly, she actually felt that Anil was a bit gloomy. There are obviously problems with his performance and understanding of the character.
This line in the script itself represents the Dark Side of the Mage King. But since he is the protagonist, even if he is black, he cannot be completely black. Therefore, the emotion in this line should be the compromise the Mage King had to make after realizing the pressure from the gods.
This is a kind of growth and a kind of fall.
This choice is humiliating and full of ridicule for both the warrior and the king himself.
Limited by Mathil's professional theater actor resources, Yin Lian made some modifications to the plot sequence, expression techniques and line details without changing the core of the script, making it more suitable for Mathil's customs and circumstances. . In this case, the performance originally performed by the Mage King's actor alone was divided into more complex storyboard scenes by Yin Lian.
Of course, in order for the audience to understand the meaning of the shot when they see it, Yin Lian had to put a lot of effort into the setting. Fortunately, the thing that the mages in the City of Sages are not afraid of the most is construction work.
To this end, Yin Lian designed several very complex stage mechanisms. Anyway, the space of the theater was large enough, so she simply designed a large triangular revolving stage. One of the sets was seven staggered doors. On one side, the background was fragrant white lilies and strong light, while on the other side was darkness. door and dots of starlight. In the door on the side of the blooming flowers, there are all Mage Kings from the light side, while on the side of the starlight, there are all Mage Kings from the dark side.
In the set on the starlight side, Yin Lian chose a pure black background for the dark part, but painted a dark red pattern on it that is impossible to see with the naked eye and can only be glimpsed under specific lighting. It is exquisite but obscure and suggestive. With the unknown blood flowing in the darkness.
The script for this scene that Yin Lian gave to the actors at this time was originally the growth process of the Mage King. However, because the first half of the Mage King's life condensed into one scene is difficult for unprofessional drama actors to interpret, Yin Lian cut this plot with a huge time span into seven scenes, even for young people or petite people. A female plays the role of the Mage King in his teenage years.
This actually lowers the requirements for actors.
Anil's acting skills are very good. In Yin Lian's opinion, he might have been in some church choirs. In this world, apart from the Green Gold Capital, only certain choirs in the Holy City have the best singers. Although not every pastor is a strong singer, the most powerful singer is definitely a pastor.
At this point, even the singers and musicians of the Azure Gold Capital cannot compare with certain churches, such as...the Church of Light.
In addition, Anil's demeanor and temperament are also extraordinary. Some things either go through a long period of training or edification, or are naturally caused by one's own status and circumstances, and are far from being forcibly imitated.
Yin Lian had doubts about Anil's identity, but she only asked people to monitor him and did not intend to expel him directly.
There is no reason to use the human resources sent up. Even if the other party really has some conspiracy, you can still be on guard and throw it away when it is used up.
Despite this, Yin Lian still made arrangements very carefully. Because manpower is abundant and labor is cheap, Yin Lian arranges several actors and singers for each role, deciding whether to use them as a rotation or as a substitute depending on the situation.
The same goes for Anil's character.
In the play, Yin Lian did not directly attack the gods - although he questioned and criticized the gods anytime and anywhere, in fact, he was targeting the church.
In this drama, the gods are not the real villains, but more like puppets used by the church. Mathil's audience may not really understand the meaning of this design, but Yin Lian knows that this approach will only make it more complicated. Perfectly leading the emotions of the people, making it easier for them to integrate into the plot.
The Mage King took away the magic book and Mathil at the same time, and Yin Lian was not ready to wash it. In fact, for Yin Lian, the appropriate black spot is not only not a black spot, but a kind of charm.
To open the door to true knowledge and power, like Prometheus stealing fire, to fight against the gods... How could this be wrong? This is obviously a great achievement!
Then, from Salmati's standpoint, she questions the ruthlessness and coldness of gods, their equal treatment and indifference to human beings, and reveals the "truth" that the church uses righteousness to hold people's hearts hostage.
Salmati singers sang songs. This paragraph is Salmati telling the Wizard King about the truth of the gods: "Fire is fire/blazing or warm/but never tries to ignite running water/light is light/illuminates everything in the world/but does not illuminate the darkness. / The sun will not invade the moon’s territory / Night will not wander in the day’s garden / Gods do not care about the strife of the world / Father is a rough god / And the world is the hunting ground of faith..."
“God doesn’t care who is the king of earth/He hears mortals
request/They beg hard/Save me/Save me/You are supreme/You are omnipotent/Please give us wealth and glory/Please give us power and strength/He is sometimes in a happy mood/The request and wish will be fulfilled. …”
Yin Lian held the pen and thought for a while, thinking about the aria of the Mage King that followed, and thought to herself, which word is better for the lyrics of the duet? There are too few synonyms for Mathil, the text variations are not diverse enough, and sometimes it does not rhyme well.
She wrote:
"Mage King: Let some people be glorious/Let some people suffer..."
She stopped writing and thought: Should she use "Both are devout believers/God is so unfair" or "Both have prayed devoutly/But went to heaven and hell"?
Yin Lian thought for a while and chose the latter.
In this way, Salmati's lines later were much easier to translate, and Yin Lian barely made any modifications.
"Salmati: All God gives is power/Mortals have created heaven and hell by themselves/If you are dissatisfied/Like me/You want to break free from control/Like me/Why don't you kiss my hand/Go to where I guide you road?"
The Wizard King asked: Is that heaven or hell?
Salmati: Or a human world where we can decide freely.
Yin Lian thought about it and felt it was wrong, so he changed it to "Heaven and hell are not as good as the human world where everyone can decide their own destiny."
Thinking about it again, this line is not expressed directly enough. The most important thing is that many people in Matier may not have enough understanding of the so-called "freedom", so after thinking for a moment, she simply changed the selected musical passages to strengthen her explanation in this regard.
"How can the heaven and hell given by God compare to my own world? Be your own master/Get the power to decide your destiny/From now on, you don't need to pray to anyone/You don't need to be chosen by anyone/If you want power/Why don't you hold me hands?"
Yin Lian quite likes the character of Salmati. Although in the real legend, Salmati has no other deeds except for her beauty, and she is still a lover, but Yin Lian feels that in a truly complete story, Salmati is such an important character. A charming character with more than just one face.
Yin Lian also rehearsed a dance for Salmati.
She first taught the backup dancers their moves. In this dance, the movements of the backup dancers and Salmati's movements are not only inconsistent, but also in great contrast. The backup dancers always maintain movements such as sitting on the ground, kneeling, lowering their waists, etc., which are lower than normal standing movements, but Salmati is much simpler.
Yin Lian called over several actors from Salmati, then turned on the crystal and started recording, letting the actors watch from the sidelines.
She gave them a demonstration herself.
Salmati's dance shocked everyone who was watching. It's not because the dance is so amazing or technical, but because Yin Lian is among the dancers, and her simple movements show a charm and aura that exceeds the range of the viewer's perception.
Yin Lian's dance moves are very simple. She stood among the dancers, raised her head casually, and glanced at the onlookers on one side. Her movements have a mysterious rhythm, which naturally attracts everyone's attention. Her back is straight, and there is a sense of arrogance in her stance. When she looks up, you will feel that there are hooks in her eyes, tough but making people want to surrender to her involuntarily.
She raised her hand slightly, as if waiting for someone to kiss her, and then her eyes slowly wandered among the crowd, as if she was not being selected, but actively selecting believers.
Then she started walking around, and every time she went to a place, the dancers would crawl on the ground. Yin Lian's footsteps hit the ground, and in line with the sound effects prepared by his sight, every step carried a strange sense of rhythm. Until she reached a position, and then, with a completely proud attitude, she knelt down.
Everyone seemed to hear the voice of the God King: [Salmati, go dance. 】
Yin Lian stood up slowly, then suddenly started running. She went from expressionless to slowly smiling, and then the music suddenly changed, and Yin Lian began to spin and move, her body as light as a swallow, but as proud as a swan.
That dance really shocked the viewers, because people in Mathil simply couldn't understand how Yin Lian used this extremely soft posture to show an extremely strong and seemingly unattainable posture.
At the end of the dance, the proud swan finally slowly lowered his neck, but raised his head the next moment, looked straight ahead with burning eyes, and a smile appeared at the corner of his mouth.
It seems that bowing his head at this time is just a turning point in the story. And she is extremely confident that she will eventually control the direction of her destiny.
While everyone was still immersed in this dance, Yin Lian stood up without caring about ruining the atmosphere, then turned off the crystal and said, "I will re-engrave this crystal later, and then you can follow it." Video practice on this.”
Then he said to the backup dancers: "Today's backup dancers are terrible. Their movements are far from neat enough, and their grasp of the rhythm is not good. You still need to practice more."
All the backup dancers responded with some grievances, and several senior members of the association who were watching sighed, feeling that Sir Lian was really destroying the atmosphere like a god, and he was still fierce.
As a result, Yin Lian came over and looked at them with a rather hateful look, which made them look confused.
