Jiao Juyin, director artist, drama theorist and translator, is one of the founders of Beijing People's Art Theatre. Born in 1905 and died in 1975. His original name was Chengzhi, and his pen names were Juying, Juyin and Liang Qi. His stage name was Juying, which was later changed to Juyin.

In his early years, he was keen on writing prose poems and organized literary groups such as the Green Wave Society. On the eve of yenching university's graduation from 65438 to 0928, he and Xiong Foxi organized a cricket performance. After graduating from university, he served as the principal of Beiping No.2 Middle School and the lecturer of English novels in the College of Women's Arts and Sciences of Beiping University. 193 1 participated in the preparation of Beiping Opera Academy (later renamed China Opera Academy) and served as the first dean. He reformed the traditional opera education, such as co-education system, offering Chinese, Chinese and foreign history, Chinese drama history, western music principles and other courses in addition to the traditional courses of opera and music, and put forward innovative requirements for the original traditional courses, which cultivated a large number of outstanding achievements for the cause of Beijing opera. 1935 studied in France in the autumn, and obtained a doctorate in literature from 1938. After returning to China, he taught at the Law School of Guangxi University. During this period, he was invited by the Southwest Branch of the Japanese People's Anti-war League in China to serve as the director consultant of the three brothers. He also directed Cao Yu's drama Thunderstorm and A Ying's drama. He participated in the reform of Guangxi Opera together, adapted Yanmenguan for Yin, a famous Guangxi Opera actor, and wrote a series of works on the reform of old operas. 1942 went to Jiang 'an, Sichuan, and taught at the National Theatre Academy. He was the first person to put Shakespeare's masterpiece Hamlet on the stage of China. At the end of the same year, he went to Chongqing, translated Gorky's unfinished trilogy, Requiem by Bela Balazs, Literature, Drama and Life by Nie Mirovic Danqinke, Nana by Zola, Uncle Vanya and cherry orchard by Chekhov, and wrote monographs such as On Drama Criticism. After the victory of the Anti-Japanese War, he taught in the English Department of Beiping Normal University and directed nightclubs. Beiping Art Museum was established at the end of 1947, and directed the drama Shanghai Beach (written by Xia Yan) and the Peking Opera Peach Blossom Fan (written by Ou Yangyuqian). 1948, Beiping Art Museum was forced to dissolve. Jiao Juyin also established an alumni troupe, adapted Shakespeare's Romeo and Juliet into a Peking Opera Casting Love Story, directed by Weng Ouhong, and wrote papers such as Today's Drama Movement. 1949 served as Dean of the School of Literature and Head of the Department of Western Languages of Beijing Normal University. 1950 directed Lao She's drama Longxugou, which showed the charm of realistic stage art with perfect stage art image, rich life flavor and local color. 1June, 952, Beijing People's Art Theatre was reorganized into a professional theater, with Cao Yu as the president and Jiao Juyin as the first vice president, general director and director of the art committee. In the early days of the hospital, Jiao Juyin directed Longxugou and Sunny Day (written by Cao Yu). 65438-0956, through the rehearsal of Tiger Symbol, further explore the road from drama to drama learning and nationalization of stage art. 1958, directed Lao She's famous drama Teahouse and drama Taking Tiger Mountain Abroad. Since then, he has directed Cai Wenji, Three Dollars National Currency, A single spark can start a prairie fire, Both Wisdom and Courage, Wu Zetian, Guan Hanqing, etc., and integrated the Stanislav system with the aesthetic principles of China's opera art into his own creation, gradually forming his own genre of directing. The main drama works are Jiao Juyin's Drama Essays and Jiao Juyin's Drama Essays. At the same time, he wrote a series of articles about the reform of old dramas.

After the founding of People's Republic of China (PRC), he served as a member of the National Committee of the Chinese Federation of Literary and Art Circles, the executive director of the Chinese Dramatists Association and the director of the Art Committee, and a member of the second, third and fourth Chinese People's Political Consultative Conference.