演员是以自己的整个身体为工具去塑造艺术形象的。因此,训练自己具有灵活并有较大可塑性的形体,是十分必要的。话剧演员在自己的创造道路上会遇到各种不同类型的角色,而每个角色由于所处的时代、境遇、生活方式及性格的不同,他的形体感觉,包括风度仪态和思想情感的表现方式等必然有着不同的特点。生活的烙印不仅使人们的精神状态各异,在形体上亦有明显的反映,因此演员在创造过程中,在深入角色心灵的同时,还要结合不同形象的特点在形体训练上下一番功夫,去寻找、体验特定人物的形体感觉,才能达到“生活于角色之中”的创造境界。例如《雷雨》中的蘩漪,她不甘受命运摆布,是一个叛逆女性,然而她给人的感觉却是文弱的、秀美的,是受过新教育的中国旧式妇女。我在接到这一角色时,当然首先是充分理解人物内心对美好生活的强烈向往,以及那个时代、环境给予她精神上的痛苦折磨和压力,与此同时,还要熟悉掌握她特有的生活形态和文弱秀美的形态 Actors use their whole body as a tool to create an artistic image. Therefore, it is very necessary to train ourselves to be flexible and more malleable. The actors and actresses encounter various types of roles on their own path of creation. Each character’s physical appearance, including his demeanor and his thoughts and emotions, is different because of his time, circumstances, lifestyles and personalities Ways and so on must have different characteristics. The stigma of life not only makes people have different mental states, but also has a clear reflection on the form. Therefore, in the process of creation, the actors should deepen the role of the soul while combining different image features in physical training. To find and experience the physical characteristics of a particular person, in order to achieve “living in the role of” the creation of realm. For example, Yi Yi in “Thunderstorm”, she is unwilling to be at the mercy of a mercenary woman, is a rebellious woman. However, she feels weak and beautiful. She is an old Chinese woman who has received new education. When I received this role, of course, first and foremost, I fully understand that the person’s inner desire for a better life, as well as the times, the environment gave her mental pain and pressure, at the same time, be familiar with her unique life Morphology and the weak form of weak beauty