Zhou Xinfang (January 14, 1895 – March 8, 1975) was a Peking Opera performing artist and the founder of the Peking Opera "Qipai" art. Born into a family of entertainers, mingshi Chu, zi xinfang, stage name Qilin Tong, a native of Cicheng, Zhejiang (now Cixi, Zhejiang).
After the founding of the People's Republic of China, Zhou Xinfang was elected as a deputy to the First, Second and Third National People's Congresses, and successively served as vice president of the China Academy of Opera, president of the Shanghai Peking Opera Theatre, and chairman of the Shanghai Branch of the Chinese Dramatists Association.
He absorbed the artistic characteristics of Tan Xinpei, Sun Juxian, Wang Guifen, Wang Xiaonong, Xia Brothers, Pan Yueqiao, Wang Hongshou, Shen Yunqiu, Li Chunlai, Feng Zihe, Liu Yongchun, Su Tingkui and other predecessors, and often cooperated with many famous artists of the same generation, integrating and learning in exchanges and references, and creating a unique style. His voice is sandy but full of breath, which just forms the basic characteristics of the Qipai, his singing voice is close to the colloquial language, smooth and simple; the reading is full of power, full of strong breath of life, and the unique style of the Qipai singing cavity is formed by "turning short into long"; pay attention to doing work, and the performance mobilizes singing, reading, doing, and playing from the heart of the character to fully display it, because of the harmony between inside and outside and is real and vivid. Make good use of hair, costumes and props to shape characters; innovate and create music composition, gongs and drums, costumes, makeup, etc., which is also the foundation of Qipai art, so that characters can reach the highest level of stage art in shaping character and expressing feelings.
Zhou Xinfang's pronunciation has a heavier Zhejiang dialect, Cangjin, bursting, pay attention to spouts, rich in strength, sharp and old and musical, good use of tone words, sometimes close to spoken language, strong breath of life. Whether it is expressing funny, solemn, resentful, and sad emotions, the tone is extremely natural and vivid. The use of water sleeves, body shape, footwork, combined with eye and facial expressions in the performance, can match the specific situation of the plot and the characters, showing his profound ability to refine life and reproduce life. The use of some special techniques has a more intense effect, such as relying on the flag, the hair, the hair, the hat wing and other kung fu, skillful and free.
Representative repertoire includes "Xu Ce Running City", "Wulong Yuan", "Xiao He Yuexia Chasing Han Xin", "Four Jinshi", "Sweeping Song Xia Shu", "Qingfeng Pavilion", "Sitting on the Building to Kill Pity", "Righteous Responsibility Wang Kui", "Fighting Yan Song", "Song Jiaoren", "Thunderstorm", "Learning to Punch King Kong", "Hong Chengzuo", "Hui Qin Second Emperor", "Shi Kefa", "Xiangfei", "Dong Xiaowan", "Dead Shu Hate", "Fifteen Guan", "Hai Rui Shangshu", etc.