111 years ago today, on May 24, 1914 (April 30, 1914), Ouyang Shanzun, the founder of Chinese drama, was born. Ouyang Shanzun (1914.5.24-2009.07.02), formerly known as Ouyang Yangshou, was born in Liuyang, Hunan. Ouyang Shanzun is one of the founders of Chinese drama and one of the founders of the Beijing People's Art Theater. After the "September 18th" Incident, he participated in the left-wing acting movement. After the Anti-Japanese War began, he joined the Shanghai National Salvation Drama Team. The following year, he went to Yan'an, and later served as the deputy head of the Cultural and Art Troupe of the Anti-Japanese Military and Political University General School, and the president of the Battle Drama Society. In 1942, he participated in the Yan'an Art Symposium. During the transfer to Jin Chaji, he directed more than 10 plays reflecting the struggle behind the enemy's back, and was praised by Chairperson Mao in his letters. A self-proclaimed indefatigable old horse, he was active on the theatrical front in his 80s and 90s. He was invited to direct "The Parisian" and "Love at Dusk on the Last Bus" in the 1980s and 1990s. In addition, he has directed plays for many theater companies, and directed the film "Shining Light Through the Clouds" and the TV series "Burning Heart". His directing style is majestic, with strong emotions, clear rhythm and the spirit of the times. Until his death, he was still active on the theatrical front. From the establishment of the Beijing People's Art Academy until 1978, he served as the vice president and deputy general director. During this period, he has directed more than ten major plays such as "Spring and Autumn", "Sunrise", "The Man with a Gun", "The Wise Man Has a Thousand Worries and Must Lose", and "Li Guorui". In 2007, the centennial of Chinese drama, Ouyang Shanzun performed for the last time at the age of 93, reciting "Passers-by" at the People's Liberation Army Opera House. At the end, he resolutely got up from his wheelchair and walked forward with his head held high, which made people cry and witnessed the "soul of drama" in China. Ouyang Shanzun is seven years younger than the 100th birthday of drama. He lived by the side of his uncle, Mr. Ouyang Yuqian, who was a drama artist. He was deeply influenced by Chinese drama art and developed a strong interest in drama art. As early as in middle school, he began to participate in various drama creation and performance activities organized by the school. After the outbreak of the Anti-Japanese War, the passionate Ouyang Shanzun resolutely left the school and participated in the torrent of anti-Japanese salvation with several classmates. Like many passionate young people, Yan'an, a small town in northwest China, beckons him all the time. For the dream in his heart, Ouyang Shanzun set off from Shanghai and arrived at the front line in Xi'an to carry out anti-Japanese salvation activities. In Yan'an, Ouyang Shanzun was deeply attracted by a new kind of life, and he threw himself into the literary and artistic work in the liberated areas with high enthusiasm. In 1939, Ouyang Shanzun ended his study and life at the Anti-Japanese Military and Political University, and resolutely went to the front line of the Anti-Japanese War. First, he worked in the combat drama club of the 120th Division of the Eighth Route Army, and then joined the guerrilla troupe to carry out literary and artistic propaganda in the enemy war zone. At that time, they had a total of 11 propagandists and 7 scouts, each with a gun of 30 rounds of ammunition, a mimeograph and simple cosmetics. Every time they went to a village, they would find a temple or tabletop, hang the army quilt as a curtain, and then send people to the village to mobilize the masses to come out to watch the play. When the masses arrived, they began to perform. After the performance, they quickly packed up their stalls and rushed to At this time, Ouyang Shanzun was completely immersed in his memories, and he said with infinite emotion, "At that time, he was really young, and his heart always seemed to be burning with a fire, and his whole body was full of energy. After each performance, the common people handed a jar of boiled water and stuffed peanuts or red dates into their hands, and they were very satisfied. After the founding of New China, Ouyang Shanzun participated in the creation of the Beijing People's Art Theater, and together with Jiao Juyin, Xia Chun, Mei Qian, and others, he pioneered the Beijing People's Art Realist drama style. Despite countless political storms during this period, Ouyang Shanzun never gave up the pursuit and exploration of dialogue drama art. He has directed more than 50 plays such as "Spring and Autumn", "Sunrise", "The Man with a Gun", "Three Sisters", "Yang Kaihui", and "Dusk Love on the Last Bus". No one knows how much effort he has poured into these works, which has become a profound memory that cannot be erased in the hearts of a generation and an immortal classic work in the history of Chinese drama. "Combat, nationalization and realism are the fine traditions of Chinese drama." The old man once said that Chinese drama was born with the fate of the country and the rise and fall of the nation. It rose and fell with the wind and rain of the times, and went through a tortuous and extraordinary road. He always emphasized that drama creation should keep pace with the times. In his later years, he also became more and more concerned about the inheritance of the realist drama tradition, proposing that Beijing people should go to Zhongguancun to experience "science and technology are the primary productive force", and should go to the countryside to understand the country's "three rural" policy. "Drama should return to life, return to the masses, and cannot stand on the heads of the masses to point fingers and be pretentious. Nowadays, some audiences can't understand it, but some people's self-admiration is not popular, but'mass', and such dramas are divorced from the masses. Drama needs to open up the situation, and it depends on the spirit and pursuit of literary and artistic people. "In the last few years of his life, Ouyang Shanzun was still dedicated to Chinese drama. In order to welcome the centennial of Chinese drama, he submitted a report to the Ministry of Culture one year in advance to carry out commemorative activities; Beijing People's Art reenacts classic dramas, and he will go to the production team meeting... As the oldest director of Beijing People's Art" extant "and the most senior and oldest artist in Chinese drama, he is often called a" drama master "by everyone, but he humbly and humorously said," I am just an old horse who is tireless. " He said, "Chinese drama was born in 1907, and I was born in 1914. I can be said to be a peer of Chinese drama. I have experienced countless ups and downs in my life, but I have never left drama.