Chen Pengnan, first-class director. Jiading, Shanghai, born in April, 1923. Member of Chinese Dramatists Association and China Democratic League. He was once known as Cheng Peng, and he liked drama and movies when he was a student. Since 1940, he has been engaged in professional drama performances. 1942 participated in the Anti-Japanese War and went to the mainland. He has served as the main actor in the 86th Regiment, the Anti-establishment Regiment, and the Anti-enemy Drama Troupe 10, starring in the plays Metamorphosis, Border Town Story, Country First and Chongqing in Fog. 1945 returned to Shanghai after the victory of the Anti-Japanese War. 1946 joined the Snow Sound Troupe as a director. In the early days of liberation, he worked in Dongshan Yueyi Club, Fanghua Yueju Opera Troupe and Shao Zhuang Yueju Opera Troupe, and directed Acacia in Xiao Feng (in cooperation with Nanwei), Beauty of the Country, Dream of Spring, Baoyu and Qingwen, Lin Chong, Love of the Regent, fashion dramas Family Happiness and Family Happiness. 1950 In August, he performed in Beijing with Dongshan Yueyi Society, was received by Premier Zhou Enlai, and took photos with Nan Wei, Fan Ruijuan and Fu Quanxiang in Zhongnanhai. 1953 joined East China Opera Research Institute, and then transferred to Shanghai Yue Theatre as director. He has directed (including co-directed) a large number of plays, such as Saving Mother by Splitting Mountain, Brocade, Du Shiniang, Golden Branch, Detective, Eleven Lang and The West Chamber, and achieved remarkable artistic achievements. "Playing Golden Branches" won the performance award of the East China Opera Observation and Performance Conference; "The West Chamber" won the director award of the East China Opera Observation and Performance Conference; Detective became Fu Quanxiang's most representative play and was made into a movie. "Eleven Lang" opened up a new situation for the co-performance of men and women in Shanghai Yue Opera, which was well received by experts and warmly welcomed by the audience, enabling Shanghai Yue Opera to achieve co-performance of men and women, thus opening up the situation. This drama has not only become a repertoire of Shanghai Yue Theatre, but also a masterpiece of Yue Opera co-performed by Shi Jihua. After the "Cultural Revolution", he devoted himself to the exploration of male and female co-productions in Yue Opera. From 65438 to 0979, he participated in directing the revolutionary drama Spring Tide in March, which reflected the third armed uprising of Shanghai workers led by Zhou Enlai. The play participated in the performance of the 30th anniversary of the National Day of the Central Ministry of Culture, and won the second prize for script creation and performance. 198 1 The modern drama "Guangzhou Luxun" directed by him won many awards in the first Shanghai Theatre Festival. He has rich experience in acting and directing, pays great attention to the style characteristics of traditional Chinese opera in artistic treatment, and is good at mastering the organic combination of realism and freehand brushwork, experience and performance, embodying the dramatic atmosphere of characters and specified situations, as well as opposition and show-off skills. Only by being good at stimulating the creative consciousness of actors and respecting the creative enthusiasm of musicians and dancers in rehearsal can the overall artistic level be improved to the maximum extent.