The rapid advancement of artificial intelligence and the strong emergence of vertical short-form videos have made the creation of peak literary and artistic works a hot topic among members of the cultural sector's Chinese People's Political Consultative Conference (CPPCC) as they look ahead to the 16th Five-Year Plan period. On March 7, CPPCC National Committee member and Director of the Beijing People's Art Theatre, Feng Yuanzheng, shared his insights in an exclusive interview.
Feng Yuanzheng discussed how classics can endure and strategies for strengthening talent development, outlining the Beijing People's Art Theatre's approach to these challenges.
When asked how the theatre can better meet the spiritual and cultural needs of the people and promote cultural development guided by socialist core values, as emphasized in this year's government work report, Feng noted they are恰好 at the start of the 16th Five-Year Plan period. He stated that the government report sets higher requirements for cultural work, coinciding with the recent joint issuance of the "Drama Revitalization Three-Year Action Plan (2026-2028)" by five departments including the Publicity Department. The key task, according to Feng, is understanding these requirements, which signal the need to create peak works in the coming years.
For the Beijing People's Art Theatre, the focus during the 16th Five-Year Plan period should be on producing more works of significant era-defining importance, which requires substantial effort. Beyond maintaining classics like "Teahouse" and "Thunderstorm," the goal is to create new theatrical works with high artistic value that also resonate with audiences, with a clear five-year plan for this endeavor.
Concurrently, Feng emphasized that talent development is the most critical task for the theatre in the coming years—discovering and nurturing talent not just for the immediate five years but to build a reserve for the next decade and beyond. The plan involves cultivating a large number of professionals in acting, directing, and stage design, enhancing their expertise, and attracting talented young individuals to join the theatre to collectively polish its "golden nameplate."
Feng challenged the old adage that "the director is a deceiver, the actor is a madman, and the audience is a fool," arguing it is no longer valid. Today's audiences have access to the world's best performances via the internet, so their aesthetic judgment should not be underestimated. Practitioners must proactively learn about the finest performances, works, and new methods globally, viewing this pressure as a learning opportunity.
Addressing the concept of technology empowering art, Feng expressed caution. While many stages are now filled with LED screens and multimedia, the Beijing People's Art Theatre has been restrained in adoption, starting late. He believes the essence of theatrical art lies in human expression; if high technology overshadows the real person, it diminishes the charm of drama. Although multimedia has been used recently to辅助 theatrical expression, it remains only a supplementary tool. Feng firmly stated that technology empowers art; it is never art empowering technology.
On how cultural workers can better tell China's stories in the new era, Feng stressed the importance of deeply engaging with life. "Going deep into life and taking root among the people" is not just a slogan. He cited the example of the theatre's first production, "Longxu Ditch," where director Jiao Juyin required all actors to experience life firsthand in the actual location. This principle remains core to the theatre's practice for every new play. Successful performances that leave a lasting impression rely on an actor's life experience, powers of observation, imagination, and understanding of life.
Feng noted that the popularity of recent long-form TV dramas stems primarily from their focus on human stories. Beyond immersing in life, the most crucial task for cultural workers is crafting quality content. Creating works audiences love simply requires truthfully reflecting their inner worlds and daily lives. Historically memorable masterpieces consistently portray people authentically, depicting their living conditions or inner states. While creative norms evolve with the times, adhering to these fundamental principles ensures artistic direction remains correct.
Looking at the major opportunities for the industry during the 16th Five-Year Plan period, Feng highlighted the significant impact of live-streamed e-commerce, short videos, and particularly vertical-screen content. From a theatrical perspective, the Beijing People's Art Theatre cannot rely solely on perennial productions like "Teahouse" and "Thunderstorm." A key challenge is adapting to meet the demands of an audience increasingly dominated by post-90s and post-00s generations.
Feng described his position as being between "fire and ice," balancing respect for veteran artists with the need to foster young talent's rapid growth, which is why he has increased opportunities for young actors recently. While some criticize frequent casting of newcomers, Feng argues that watching them grow is essential, just as audiences once watched his generation mature. The iconic "Teahouse" performances seen today feature artists in their sixties, but Feng's generation took over the roles in their thirties. Since many never saw the original creators like Yu Shizhi perform at a young age, the current duty is to polish the established "nameplate," not diminish it. Ensuring a smooth transition to the next generation requires giving them opportunities.
Feng pointed out that today's post-95s generation can land major leading roles within two or three years, not due to his boldness but necessity. Waiting ten years to offer opportunities after minor roles might prevent them from ever reaching the center stage. Reflecting on his own experience, being cast by director Xia Chun as the 40-year-old Zeng Wenqing in "Beijing Man" at just 24, before even graduating from the theatre's training class, Feng believes that providing opportunities leads to growth if seized. He observes that young actors today are highly diligent, with visible progress transforming early skepticism into having their own followers.
Feng concluded that challenges and opportunities coexist. The Beijing People's Art Theatre currently faces both but stands before greater opportunities. Successfully cultivating the younger generation will ensure the theatre's continued brilliance.
Looking ahead to 2030, Feng expressed his hope for the prosperity of both the Beijing People's Art Theatre and China's cultural sector. He particularly desires that the post-90s generation will create their own defining theatrical works by 2030, akin to masterpieces like "Teahouse," "Thunderstorm," and "Cai Wenji" associated with predecessors Yu Shizhi, Lin Liankun, and Lin Zhaohua. Feng sees his generation as a bridge—somewhat uncomfortably positioned in the middle—but hopes the younger generation will have their representative works by that time.