Active member of CHINA QUYI ARTISTS ASSOCIATION Gong Hanlin lecturing at AXHU

Apr 22, 2026, International Office, 5-minute read 

At a sincere invitation of AXHU’s students and faculty, the national Level-A actor, also famous QUYI曲艺performing artist of China, Gong Hanlin巩汉林visited AXHU main campus, Apr. 15, and gave a splendid, profound, and life-giving art-style lecture themed “Thriving in Lifelong Pursuit of Time-Honored QUYI Tradition—A New Voice for the Next Generations” at AXHU Forum.

A hall of Anhui QUYI Artists Association experts and AXHU faculty and student reps gathering at the AXHU Research Building were listening to this top-level academic report, which was moderated by the executive dean of the School of Culture and Communication Hong Yu.

In the beginning, AXHU provost Zhao Liangqing presented the “AXHU Teaching Professorship Appointment Certificate” to Mr. Gong.

“When walking into AXHU yard, it is my honor to exchange face-to-face with the youth, but is also a responsibility and mission as a worker of art,” Gong said.

At first, Prof. Gong introduced the fundamentals of performing arts in theory, interpreting the three-point argumentation in performing arts, i.e., Stanislavski’s system; Brecht’s system; and Mei Lanfang’s system, highlighting its three-fold unification, respectively: “actor and/or role,” “art and/or life,” “internal experience and/or externalization,” and ‘I and Me’, and combining with his own on-stage performance and Film & Television creation practices, —Gong translated those abstract theories into the iconic elements one by one in details, which help these full-minded humble listeners comprehend what the performing arts in forms would want to communicate literally and figuratively.

While lecturing on how to excel in performing practices, Gong quoted the samplers of  acting himself for the character of “boss” differing in three scenarios separately, with which his interpretation of actors’ re-imagination for any re-creation process which shall be shedding light on “pivotal function” over their own body languages and voices with distinction and put its attention back to each personage’s inner world while observing his or her nuanced behaviors being shaped against the backdrop of long-held historical significance, like sharing his earlier performing experience with modern drama of “Thirteen Spices Peddler,” fairly appearing a good representative of indicating the source of artistic work creation of excellence actually originates from the everyday life experiences of everyone’s virtuosity on making all that comeback hopefully but anew.

Especially for all the young, while engaged with not only performing arts practice, but also the academic career on campus, meanwhile, he argued “all the younger friends may be aware of ‘disenchantment, simplification, but down-to-earth character’ regarding a seemingly paradoxical understanding of ‘art for art’s sake’ and yet accepting that in a positive way to spark your mind in the real world anyhow.”

As for the film & television production, moreover, it afforded the “optimistic  opportunities” to all the ‘capstone’ masters who are historically responsible for QUYI prospects ongoing booming in national culture confidence, Gong analyzed logically, “today’s situation comedy is, however, to be adopted as another ‘springboard’ available for genre-spanning artistic pursuits with the ‘ballast’ of QUYI cultivation in the circle of Chinese traditional culture in the new era, majorly because it has been blending sorts of art forms rooted in its family tree, essentially including the Cross-talk相声, Witty-skits小品, and other Chinese ethnic and folk performances for the mass entertainment to cultivate their humanistic views in a romantic vein.” 

Mostly important, “paying tribute to my best fellow members on AXHU campus, all of you deserved any heartfelt praise and applause because of the springtime-like passion of yours that I felt deeply now in person, —dedicating to the innovation development of national art forms via acting a real SELF during the great revival of the Chinese nation.” 

Hotly enveloped in this academic exchange environment, the time of masterly lecturing was filled more abundance of on-campus youth vibrancy in cheerfulness, seeing that the School of Culture and Communication student-teacher combination of LIU Zhibo and XING Yu presented their own original work of drama titled “Glowworms Lighting A Deep Night,” antiphonally, to some extent, which displayed their teaching and learning results—emotionally, meaningfully, and determinedly contending the passage of performing arts’ great appeal so much—featuring a well-cultivated academic air arising from their solid professional grounds.

After that, Gong reviewed professionally with his own instructive share of nearly 40-year experiences on stage, and analyzed heuristically from a higher artistic stature: “highlighting the differences as for excellence performance while weighing on the potentials to address the delicate, minor details that matter during the process of helping recover the concrete character’s spirits in a cultural profile according to each performer’s accurate comprehension and performing techniques/skills to communicate the artistic value across the intricate aspects, therefore, the students and teachers should immerse your own real feeling and knowledge into not only the real-time intent to echo the audiences, but also the training process to enhance the displaying methods surveyed in the listen-look-feel-with-heart way.” 

With a question and answer session, how to put in place “good art works are going to happen,” especially defined in a positive posture to deal with online network flow-driven market, but the social responsibilities and actual duties must top over “more than anything else,” Gong called for seriously.

Instead, the long-running process practically to form personal feature should identify yourself as a dedicated literary and art worker who is best of all to create the “powerful, ethic, ardent” works for the masses, during which the discipline or control is set to meet selves’ decent behavior must go first, forever.

It is known that the rebranding of “AXHU Forum” series aims to combine the general education and disciplinary breakthroughs with the greatest Chinese culture traditions by attracting pretty much of high-quality artistic resources to co-establish the aesthetic system of “social famous people-led efforts + innovation curricula teaching + disciplinary practices of impact,” which has positively impacted, resorted and evoked nearly one million individuals till now, via more than 30 AXHU-wide events each year.

Furthermore, AXHU Education will continue to step up the exchange platform being based on the traditional pedagogical ideas of “Mission, Morality, Career, and Life Value” and to commit the comprehensive reform to improve the current students’ aesthetic tastes and humanistic beliefs.