Exclusive interview with Beijing People's Art Theatre Director Feng Yuanzheng and renowned violinist Yao Jue: We are very restrained, so that special effects do not "overwhelm" the story.

Every reporter | Ding Zhouyang Song Meilu Intern Chang Songzishen Every editor | Chen Junjie

On the night of March 9, after a day of intensive work at the CPPCC, Yao Jue and Feng Yuanzheng appeared in front of the camera for an exclusive interview with reporters from the “Daily Economic News” (hereinafter referred to as NBD).

Their schedules were completely booked. In addition to being members of the National Committee of the Chinese People’s Political Consultative Conference, Feng Yuanzheng is the first actor president in the 70-plus years of the Beijing People’s Art Theatre; Yao Jue, born into a musical family, is not only one of China’s top violinists but also founded the Hong Kong String Orchestra.

“I often seek advice from President Feng on how to quickly switch roles within a day. After all, the artistic thinking on stage and the logical brain area of administrative management are completely different,” Yao Jue remarked. In fact, she is also a “slash artist” who navigates multiple identities with ease. Facing a new era, new audiences, and new practitioners, both share the attitude that “we cannot rely on our prestigious names and live off past achievements.”

How to face it, and how to approach it? During the interview, Feng Yuanzheng repeatedly used the word “restraint” to describe the temptations of popularity, commercial pressures, and technological dependencies… Innovation cannot stop, but the essence of innovation is always about people.

Left: Yao Jue Right: Feng Yuanzheng Photo provided by the interviewee

Three curtains still leave people wanting When “Butterfly Lovers” meets “Madame Butterfly,” watching “Zhang Juzheng” debut in St. Petersburg

Enhancing the country’s cultural soft power is key to truly pushing works into the world and landing them overseas. Chinese stories and historical figures have the foundation for dialogue with the world, but there is still a lack of understanding of Chinese art abroad, leading to outdated and biased views. Only when seen can it be truly appreciated; cultural outreach cannot rely solely on verbal storytelling, but must move people through authentic experiences.

NBD: “Cultural Power” is a topic both committee members are concerned about, and it should be closely related to your work practices?

Yao Jue: My understanding of “cultural power” is to bring excellent Chinese culture to the world. In November of last year, coinciding with the 55th anniversary of diplomatic relations between China and Italy, I led the Hong Kong String Orchestra on a themed tour titled “From Madame Butterfly to Butterfly Lovers,” making us the first Chinese orchestra to enter the medieval town of Gubbio.

We used “Two Butterflies” as a core symbol, integrating elements of traditional Chinese Yue opera into the violin concerto “Butterfly Lovers” with the lyrical melodies of Italian playwright Puccini’s masterpiece “Madame Butterfly.” The response in Italy was particularly strong; this was a cultural exchange between the two countries, not just a concert. We also performed a medley of classic Hong Kong movie songs, and after the theme song from Bruce Lee’s film concluded, the Italian audience stood up and applauded in excitement. In that moment, Chinese and Western cultures realized seamless connection and warm embrace through music. These scenes made us feel the resonance of art and the connection of hearts.

Photo provided by the interviewee

Feng Yuanzheng: Looking ahead to 2035, building a cultural power is a key support for the great rejuvenation of the Chinese nation. If Yao is building a bridge with music, then we at “People’s Art” are conveying voices through stories.

Last year, we brought the play “Zhang Juzheng” to St. Petersburg. From stage design to costumes and props, we maximized the expression of traditional Chinese aesthetics. Russian audiences were not only attracted by the compelling story but also saw a three-dimensional, real image of a reformer, deeply feeling the difficulties and necessities of reform amid the global wave of change.

Our stage appears simple, but is actually exquisitely detailed: three dragon chairs, ten columns, and an old brick wall. However, when the curtain rose in St. Petersburg, even local stage design experts were stunned. Those three dragon chairs were meticulously replicated based on the original items from the Forbidden City, and their craftsmanship was so exquisite that local professionals felt “intimidated to touch them.” At the end of the performance, the audience stood and applauded for a long time, and the curtain calls repeated three times, still leaving them wanting more. In the end, I had to invite the translator onto the stage to conclude the enthusiastic interaction with a few words.

“We always maintain restraint on commercial collaborations” Art is not a privilege, but light shining into life

From the evaluation system of literary and artistic workers to how classic art enters thousands of households, the starting and ending points of concern for Yao Jue and Feng Yuanzheng are always centered on people.

NBD: This year, both committee members’ proposals coincidentally focus on “the evaluation and incentive mechanisms for artistic talents.” Why do you think this issue is so urgent?**

Feng Yuanzheng: My proposal focuses on constructing and improving the reward and support mechanisms for drama artists. To be honest, our theater workers are very diligent and have achieved many impressive results, but nationally, there are still relatively few specialized reward mechanisms for this group. Therefore, I call for the establishment of more authoritative awards and support projects for frontline theater artists. This recognition comes not from the amount of the prize but from acknowledgment by the state; it is not just an honor but also confidence.

Photo provided by the interviewee

Yao Jue: President Feng mentioned encouraging drama talents, and I also submitted a related talent proposal this year. Because the evaluation in Hong Kong differs from that in the mainland, where there are first-class actors and various title types, but Hong Kong does not have this. I believe young artists in Hong Kong also wish to better serve the country’s development, so I proposed how to implement the mainland’s artistic talent evaluation mechanism in Hong Kong to facilitate closer exchanges between the two sides.

NBD: In the current cultural environment, arts institutions and individuals often face dual challenges: on one hand, they must deal with market operational pressures, and on the other, they must consider how to truly reach the general public. In your respective fields, how do you balance “upholding artistic standards” with “lowering participation thresholds”? What key choices have you made to ensure that art is not just a privilege for a few but can become a force nurturing the spiritual lives of ordinary people?**

Feng Yuanzheng: The ticket prices at Beijing People’s Art Theatre have always been very affordable, ranging from 80 yuan to a maximum of 680 yuan. For example, in our small theater, we launched a youth version of “Hamlet,” performed by four young actors over 80 shows, with ticket prices at 120 and 280 yuan. If we only calculate the economic aspect, this ticket price is indeed difficult to make a profit, but we own our theater and don’t have to pay rent, which saves a lot of costs. Therefore, our main responsibility is still to provide performances for the public, while the state also provides us with subsidies, and we also need to do some touring performances to bring in some income for the theater. We also create some derivative products. During the performance of the play “Teahouse,” we launched refrigerator magnets and collaborated with Wu Yutai to package tea. However, we always maintain restraint on commercial collaborations.

Yao Jue: I was born into a musical family in Shanghai; my father is a renowned musician and conductor of the Shanghai Film Orchestra, Yao Di. Under his strict requirements, I started learning the violin at the age of four, practicing three hours every day without fail. I was “forced” to learn instruments as a child; my father would make me practice, and if I didn’t, I had to kneel on a washboard for half an hour.

Now, I am also a mother of two daughters. I no longer use the same strict methods I experienced to educate them; learning an instrument has its hardships and monotony, and a purely “iron-fisted” approach would make children lose interest and patience. I wrote a set of courses for young children, using fun methods to help them feel the rhythm, creating an atmosphere of family music learning where children learn alongside their parents. At first, parents may learn faster, but ultimately, children generally surpass their parents. My philosophy is clear: not every child has to become a performer, but every child can gain confidence, aesthetics, and willpower through music.

This belief has also extended into our “Music Energy Program.” Over the past ten years, we have helped 900 children from ordinary families in Hong Kong open the door to music. Many of these children live in “subdivided flats,” which are tiny spaces divided by partitions, no bigger than a bathroom, oppressive and cramped. Yet, in these corners where even turning around is difficult, music has become the light shining through the cracks. We brought instruments into their lives and witnessed how notes penetrated their temporarily difficult living situations, illuminating the hearts that longed to soar.

“When I enter the theater, I want to see people” The average age of the audience is “post-90s,” watching “Camel Xiangzi” performed by “post-00s”

How can classic art attract young people? For Yao Jue and Feng Yuanzheng, both the practitioners on stage and the audience off stage have changed. Classic art has not simply adhered to the old ways but has always centered on people.

NBD: Earlier, we discussed how art can “take root downwards” to serve the public; now let’s talk about how art can “grow upwards” to embrace the times. In the process of promoting the “youthfulness” and “modernization” of art, how do you define the boundary between innovation and essence? What is the “bottom line” you uphold when facing the impact of new technologies?**

Feng Yuanzheng: Currently, the largest group entering the People’s Art Theatre is the “post-90s” generation. Young audiences do not solely watch plays for star-chasing; they have their favorite actors, but more importantly, they love the form of drama itself. The change in the audience occurred around 2020; I believe it is a natural iteration of the audience rather than a deliberate attempt on our part to “cater” or “feed.”

Last year, we staged “Camel Xiangzi,” based on the version performed by Beijing People’s Art Theatre in 1957, with sets, costumes, makeup, and performances paying homage to the earliest classics. However, our youngest actors are from the “post-00s” generation, and the older ones are from the “post-80s,” with an average age of “post-90s.” I initially thought that this play might not be well received; a 60% to 70% occupancy rate would be good, and I told the young actors that the most important thing was to let the audience get to know them through this play. To my surprise, the occupancy rate exceeded 90%. In 1957, the People’s Art Theatre had a classic play “The Return of the Snowy Night,” which we also restored, incorporating modern elements into the stage design and blending the aesthetics of the Republic of China with the modern aesthetics of “new Hanfu,” which has also been well received by young audiences.

Thus, drama today is not simply adhering to the old ways; we need to integrate with the present and incorporate technology to empower art, but we will not cater to so-called fashionable trends. We will not let multimedia dominate the stage or use sound and lighting effects to overshadow the actors. Beijing People’s Art Theatre exercises great restraint regarding flashy stage effects. I believe that when people enter the theater, the most important thing is still to see people. Just like when I go to listen to Yao Jue’s concert, it’s not enough to just hear the violin; if I can’t see Yao Jue herself, then that is not theatrical art; theatrical art is still about people.

Yao Jue: President Feng is absolutely right. Innovation and adherence are two sides of the same coin in classical music. What repertoire do you perform? Can these pieces resonate with contemporary audiences? Our string orchestra has been exploring new paths; for instance, I am keen on blending pop music with classical music. In collaborating with pop singers, I have absorbed a lot of nutrients, making my artistic expression more three-dimensional and rich. However, adapting pop melodies into rigorous string works tests our deep understanding of the essence of music.

Whether it is cutting-edge technology or artificial intelligence, they are assistants rather than protagonists. The protagonists of musical theater will always be musicians and their works. The value of technology lies in helping audiences enter the works and understand their souls in a more imaginative and immersive way, rather than overshadowing the core.

The “Dual Life” of an Artist “In this critical period of new and old alternation, I can only tire myself out like this”

The stage is a mirror reflecting reality. Today, Beijing People’s Art Theatre still insists on “performing without microphones,” where “allowing the audience in the last row to hear the lines clearly” is a basic requirement for every actor of the People’s Art Theatre.

NBD: Besides your roles as actors and musicians, you both take on other responsibilities. How do you define your artistic life? Do these professional paths influence your artistic creation?**

Feng Yuanzheng: I have loved art and pursued it since I was young, experiencing the transition from being unrecognized to being acknowledged. In the unrecognized phase, for our generation, it was about finding issues within ourselves. For example, as an actor with an average appearance, I had to learn acting well to compensate for my shortcomings. Once I truly entered the performance industry, especially after stepping into the doors of Beijing People’s Art Theatre, I knew I wanted to be a good actor, and if possible, I wanted to be a good actor and artist like my teacher Yu Shizhi.

Before 2015, I was a casual person at the People’s Art Theatre, not thinking about taking on great responsibilities, but as senior actors began to retire, I realized it was time for my generation to step up. In 2016, I became the captain of the acting team and began to feel a sense of responsibility for the theater. It naturally arose in me; I couldn’t stand to see others not working hard, and later I became the vice president, but it was only responsible for a few departments. Until our former president passed away suddenly, the organization appointed me as president when I was originally just a few months away from retirement… This is how I took on the role of president, and only after doing it did I realize it was not easy.

The most challenging part was the past two years. While managing, I also had to perform and rehearse new plays, so I often had trouble sleeping. Before becoming president, my hair was black, but now it has turned white. There’s no need for complaints because once I took it on, I had to do it. Starting in 2024, Beijing People’s Art Theatre has attempted a peak production rhythm, and everyone’s workload has exceeded capacity. We perform at least 35 plays a year, along with eight or nine new plays. The year before last, we staged 11 new plays, last year nine, with over 500 performances in total, and our box office reached an all-time high, so from this perspective, I think the efforts of these years have yielded good returns.

Balancing being a president and an actor is the hardest; I can only say I have held on to this point until today. I often envision what my life will be like after retirement, thinking I will sleep for a month and not let anyone bother me, but for now, it’s not possible. For example, in “Zhang Juzheng,” I was the last member of the entire cast to memorize my lines, which would have been impossible before. I wake up before seven in the morning, go to the theater to handle a day’s work, rehearse in the afternoon if needed, and very likely perform another show in the evening, getting home close to midnight. It has been like this for years, and my colleagues say our profession is very tough, but when I think of Teacher Yuanzheng, I feel less tired. I say, “Don’t follow my example; we are in a special critical period of new and old alternation at the People’s Art Theatre, with ‘post-60s’ actors retiring one after another. Whether the younger generation can take over depends on these years.” So, I can only continue being this tired for now.

Yao Jue: I am in the same group as President Feng at the two CPPCC meetings, and the issue of new and old alternation has been his focus in recent years. I also seek advice from him on how to quickly switch my roles in one day. Because the mindset we use on stage is completely different from that of administration. If I don’t practice in the morning and handle administrative work first, and then rehearse in the afternoon, I can’t concentrate. Generally, I practice the violin for three hours in the morning and try to arrange all other business after my morning practice so that I can ensure I am in good performance shape for the stage.

In fact, if we talk about role switching, the longest time I was away from the stage was when I first became a mother. The role of being a mother divided my time and energy as a performer. Later, when I returned to the stage, I regarded motherhood as part of my life experience, enriching my expression and understanding of music. The bittersweet experiences of life can be presented through music. So, I don’t think there is any “waste time” in life; they all contribute to my growth in different ways.