The play "Teahouse" is a cornerstone production of the Beijing People's Art Theatre, staged annually. Do you know who first brought "Teahouse" to the theatrical stage? His name was Jiao Juyin.
As one of the founders and the chief director of the Beijing People's Art Theatre, Jiao Juyin dedicated his life to exploring a path for the nationalization of Chinese spoken drama, profoundly influencing the art form. Articles in the Guangming Daily provide a detailed record of his historical imprint on shaping the soul of Chinese theater.
On July 3, 1949, shortly after its founding, the Guangming Daily mentioned Jiao Juyin in a news report, noting that Mei Lanfang intended to visit Mr. Jiao Juyin to discuss issues of Peking Opera reform.
After the founding of New China, Jiao Juyin authored multiple articles for the Guangming Daily, clearly articulating his view that art should serve the people. "Immerse yourself in reality, immerse yourself in life, always breathe together with the people." "If we are determined to do something for the benefit of the people, no matter how great the difficulty, we must accomplish it." These passionate words expressed a dramatist's conscious integration of his personal artistic pursuit with the needs of the people.
Jiao Juyin was not only an advocate of this artistic philosophy but also a steadfast practitioner. He directed a series of classic works for the Beijing People's Art Theatre, including "Thunderstorm," "Teahouse," "Dragon Beard Ditch," and "Cai Wenji." The Guangming Daily faithfully recorded each important moment of these works, from their conception and birth to their premieres and enduring success.
In 1951, Jiao Juyin's direction of Lao She's work "Dragon Beard Ditch" was a great success. The Guangming Daily published Jiao's creative reflections titled "Remarks Prompted by 'Dragon Beard Ditch'." In it, he recalled the various hardships and persecutions he faced in theatrical work before the founding of New China, followed by a heartfelt sigh: "But what about today? Liberated, the people have raised their heads... What two different worlds are these?! When I was directing 'Dragon Beard Ditch,' I only felt like a liberated director, portraying the life and happiness of liberated people for a liberated people. This joy, this excitement, this feeling of gratitude can only be expressed more accurately with the words 'tears'." This sincere confession, disseminated through the Guangming Daily, allowed readers to see the artist's inner journey behind the creation, reflecting the immense encouragement and creative passion that the new era brought to cultural and artistic workers.
The Guangming Daily also published the artistic community's evaluations of Jiao Juyin's directorial art. When discussing the writing process of "Dragon Beard Ditch," Mr. Lao She specifically thanked "Mr. Jiao Juyin, who took on the role of director despite being ill, and meticulously scrutinized the script word by word with the author, providing suggestions for improvement." Dramatist Li Bozan praised "Dragon Beard Ditch" as "the success of Mr. Jiao Juyin's realistic directorial method." Actress Ye Zi wrote that Jiao Juyin wove characters and events together "like weaving a beautiful flower mat into a continuous, vivid, and beautiful pattern." Actor Yu Shizhi recalled that Jiao Juyin clarified their "supreme task" for them: to showcase the collective power of the people engaged in building a new life. This high recognition from collaborators and peers fully illustrates Jiao Juyin's profound skill on the path of realism.
As a dramatist well-versed in both Eastern and Western traditions, Jiao Juyin's most groundbreaking contribution in his lifetime was integrating the Stanislavski system with the aesthetic principles of Chinese opera art into stage practice, tirelessly exploring the path of nationalization for Chinese spoken drama. The evolution and maturation of Jiao Juyin's artistic thought left a clear trail in the pages of the Guangming Daily.
In 1957, Jiao Juyin pointed out in an article for the Guangming Daily that in the eyes of some, "if the common methods of spoken drama performance are slightly altered, it is considered not to be spoken drama, which is tantamount to advocating the blooming of only one flower." He unequivocally advocated for carrying forward the fine traditions of Chinese opera "to make it bloom with bright flowers on the world stage." The "Literary Tidbits" column reported on his attempt "to combine the Stanislavski performance system with the traditional performance methods of Chinese opera" while directing "Tiger Tally," and his plan to enhance new techniques involving music and inner monologue in his next play. In a letter from Jiao Juyin to a foreign artist published in the Guangming Daily, he also discussed the practice of developing the Stanislavski system in line with China's reality: embodying the Stanislavski system must be achieved through practice, not empty talk divorced from specific performances; it must be developed in combination with China's actual conditions. These ideas became important intellectual cornerstones for his fusion of Chinese and foreign traditions and the establishment of a national school of performance.
"Teahouse" and "Cai Wenji" represent the pinnacle of Jiao Juyin's exploration into the nationalization of spoken drama and have become immortal legends in the history of Chinese theater. The Guangming Daily not only reported on the spectacular performances of these plays but also delved deeply into the artistic craftsmanship behind them.
A review reflecting on watching a rehearsal of "Teahouse" meticulously captured historical details: "At this moment, Chief Director Comrade Jiao Juyin quietly walked in. He took off his overcoat and went straight to an actor; clearly, he had been thinking about this actor's performance creation all the way." Another review used poetic language to articulate the national aesthetic qualities inherent in Jiao Juyin's directorial art, stating that his directorial handling "is like the first fallen leaf of early autumn; although it falls to the ground without a sound, the austere chill of autumn is already palpably felt!"
Jiao Juyin passed away on February 28, 1975. In 1978, the Guangming Daily published in three installments a long article co-authored by Su Min, Diao Guangtan, and Lan Tianye titled "Remembering Comrade Jiao Juyin Directing 'Cai Wenji'." This article systematically and vividly presented to readers the creative process of how Jiao Juyin perfectly integrated the poetic spirit and aesthetic principles of Chinese opera with the art of spoken drama.
Jiao Juyin's artistic life has been carried forward by later generations, and the Guangming Daily has continued to follow this legacy. Director Xie Jin and actress Li Wanfen both wrote in the Guangming Daily, recalling Jiao Juyin's strict demands on them. Xie Jin wrote: "Teacher Jiao Juyin once made me stand as punishment for laughing and talking backstage during a rehearsal. The rehearsal continued, and the feeling was very unpleasant. But the strict demeanor of the teachers has always stayed with me and influenced my later work." Li Wanfen recalled that the first play she performed in was "Dragon Beard Ditch." Although she had "long heard that Director Jiao was very strict during rehearsals, showing no favor to actors big or small," she only had one line and thought "no matter how strict he was, he wouldn't notice me." Unexpectedly, Jiao Juyin patiently and seriously corrected her movements: "Later I understood that realistically portraying life and accurately conveying the character's feelings to the audience requires an actor to put in serious effort." In 1992, theater theorist Tian Benxiang published an article arguing: "In a sense, without Jiao Juyin, there would be no Beijing People's Art Theatre school of performance." The article pointed out that Jiao Juyin used Chinese poetic wisdom to interpret the Stanislavski system, pursued "poetic truth," organically integrated the aesthetic spirit and formal techniques of opera into spoken drama, thereby establishing a uniquely national school of performance.
The Guangming Daily served not only as a platform for publishing his artistic ideas and a window to showcase his creative achievements but also as a vivid witness to his deep resonance with a new era and his spiritual interaction with the broad audience.
In 2025, on the occasion of the 120th anniversary of Jiao Juyin's birth, the Guangming Daily published a commemorative article by Dai Chen, an associate researcher at the Beijing People's Art Theatre: "As we look back on his theatrical life and artistic achievements, it is not only to commemorate this great dramatist but also to find the spirit that is consistent with his legacy, to draw inspiration from the Beijing People's Art Theatre school of performance he founded and its successful experiences, and to find an effective path for the development of contemporary Chinese dramatic art."
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