Zheng Rong

Zheng Rong

Zheng Rong, born in Dingyuan County, Anhui Province in 1924, graduated from the National Academy of Arts. He is a member of Chinese Dramatist Association, director of Beijing Federation of literary and art circles, and member of Art Committee of Beijing People's Art Theatre. In 1953, through the creation of Uncle Zhao in Longxugou, his realistic creation road was established.

Zheng Rong has participated in thunderstorm, Long March, Longxugou, teahouse, Weihushan, Wu Zetian and other ancient and modern dramas, playing an important role, forming a vigorous and powerful performance style. Zheng Rong also performed in West Germany, France and Switzerland with the troupe of teahouse.

Personal experience

In 1942, he was admitted to the Western Painting Department of the National Academy of Arts, and began to work in drama. He participated in amateur and professional drama activities.

In 1950, Zheng Rong joined the Beijing People's Art Theater and performed countless popular roles in the new China. With his excellent acting skills and unique demeanor, he deeply depicted the characters' characters on the screen and created countless familiar and unfamiliar roles.

In 1953, through the creation of Uncle Zhao in Longxugou, his realistic creation road was established. He has participated in thunderstorm, Long March, Longxugou, teahouse, outwitting Weihushan, Wu Zetian and other dramas at all times and in all over the world, playing important roles, forming a vigorous and powerful performance style. Zheng Rong also performed in West Germany, France and Switzerland with the troupe of teahouse.

After the end of 1970s, he took part in the shooting of films and TV dramas such as "danxinpu", "teahouse", "chutianfengyun", "Empress Dowager of the two palaces" and so on, integrating the strengths of drama, film and TV into his performance.

In the 1990s, ice sugar gourd made a great comeback in today's depressed stage. As an older generation artist, Zheng Rong also participated in the performance of ice sugar gourd. The performance of the play was full, and the audience was reluctant to leave at the end of each performance. The reason why the performances of the old artists can win such high enthusiasm from the audience is that apart from their decades of artistic semiotics and profound artistic skills, the most important thing is their personality charm.

In 1982, he directed the folk comedy "more than lucky day".

In 1988, the Chinese mainland TV drama "journey to the west" played the role of Tai Lao Lao and acted as a performance consultant.

In 1994, he played Kong Rong in the TV series romance of the Three Kingdoms.

He has also played major roles in such films as "the book of hearts", "the cloud of the Chutian", "the Empress Dowager of the two palaces".

Character evaluation

Comrade Zheng Rong is a famous drama performing artist in Beijing People's Art Theatre. Since 1942, he has been engaged in drama work. He has played many successful roles on the stage and on the screen and is familiar to the audience. His experience is bumpy and thought-provoking.

Zheng Rong is a revolutionary artist of the older generation who grew up in the gunfire of revolution. In his youth, he showed his love for art. In school, he played roles in drama for many times, and was admitted to the amateur troupe with excellent results

"Sunrise" and other plays depict different characters. But under the rule of the puppet army at that time, the flame of art was often mercilessly extinguished.

During the Anti Japanese War, Zheng Rong took part in the official drama team, but she couldn't perform for a long time under the rule of fascism. The artists had to cry for the empty palace of art.

Zheng Rong has played more than 50 drama roles and more than 80 film roles since she went on stage and left the stage. In her life, she played president of the Republic and servant, which is such a span. In the eyes of the audience, Zheng Rong is always an actor with great tension. Among so many roles, the most impressive are Zhou Puyuan in Thunderstorm and Chang Siye in teahouse.

Because the time span of the performance is the longest, the role contrast is the biggest, and the two completely different characters are deeply expressed by Zheng ronglao. Especially playing fourth master Chang. Chang Siye is a "banner man" with chivalrous spirit. He is upright, with a sense of justice and patriotism.

With the growth of his age, knowledge and understanding, the whole performance process is gradually deepening, and once on stage, he can shine all over the world, reaching the stage of pure youth. But in Zheng Rong, he is not as talented as others and can't act. He said that "it was not until he was 73 years old and played thunderstorm and teahouse in 1992 that he really found the inner lines and feelings of the characters. "But the audience didn't see anything missing. In the face of many wonderful stage memories, we really begin to understand what is' self demanding '. Zheng Rong is very hardworking. When she comes backstage, no one dares to joke with him. When she is ready to play, she is frightening, and no one dares to provoke him. In fact, this style also benefits from people's art. Silent platform and experiencing life have always been the tradition of people's art.

In the year of Japan's surrender, when Zheng Rong moved from barracks to Chongqing, he told Bai Yang that he wanted to learn drama. By chance, Zheng Rong entered a small drama company, managed the props backstage, and entered the door of drama through this company. Soon after, Zheng Rong went to Jinshan and Zhang Ruifang's home, saw the complete works of Lu Xun by red cloth, saw Zhao Dan, Guo Moruo, Premier Zhou and many big actors, and met the priest, Xiang Kun and Xie Tian. In Chongqing, Zheng Rong saw the first director to learn the method of Chinese opera and Meng's return on a snowy night. Zheng Rong said that the stage is treated as beautiful as poetry, and the beauty of national tradition is not the beauty that can't be understood from foreign countries. Two chairs, just two chairs. Yichun knelt down on one leg and wrapped the wool. The ball of wool was about to come down. He rolled from the other side of the stage to Williamson's feet and wrapped it at the other end. He picked up the needle and said, it hit the nail on the head. This scene was printed in Zheng Rong's mind. When she finished the play, she didn't want to go out of the theater, but forgot to go out of the theater. That period was the golden age of drama, which produced works, talents and audiences.

In 1950, Zheng Rong came out from Chongqing to Wuhan in a small wooden boat. She first went to Qingyi to inquire about it. Knowing that Beijing People's art was short of people, she joined the publicity team of the old people's art. Lao she wrote "Longxugou" at that time and asked Jiao Juyin to direct it. Jiao Juyin received the script and thought about it all night. Before liberation, Jiao was determined to make a revolution in Chinese drama, but he failed. At that time, he hesitated and struggled for a long time. He found that Lao She's script had a life and made a decision. Mr. Jiao grew up in a mixed yard, so he grew up in a mixed yard. There is a digger here. Then Mr. Jiao asked, who are the actors? He thought of using young people who didn't know how to act, so Zheng Rong waited for the chance. Because playing old man Zhao in "Longxugou" made Zheng Rong pass a barrier and become an actor who can really come to the stage of the people's Art Troupe and a well-known actor of the people's Art Troupe. Zheng Rong was the second to play Zhou Puyuan. Because of entering such a good artistic atmosphere, after entering the people's art, Zheng Rong is just like a duck to water, creating one vivid character after another, which makes the audience remember the characters played by Zheng Rong and the name: Zheng Rong.

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