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In 1999, Zhao Lirong cried bitterly late at night, begged for euthanasia, and sewed a shroud with a posthumous photo before her death

In 1999, Zhao Lirong cried bitterly late at night, begged for euthanasia, and sewed a shroud with a posthumous photo before her death
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In 1999, Zhao Lirong cried bitterly late at night, begged for euthanasia, and sewed a shroud with a posthumous photo before her death

Late one night in 1999, 72-year-old Zhao Lirong curled up in a hospital bed, sobbing silently. The queen of comedy, who once made countless audiences laugh, is now crying under the torture of illness, and even begging for euthanasia to end the pain.

Her trembling hands caressed the shroud she had sewn with her own hands, and her eyes fell on the posthumous photo she had already chosen. Once radiant and energetic, she is now making final preparations for the final chapter of her life.

What kind of life experience made this legendary artist so calm and so painful in the face of death? Let's trace Zhao Lirong's legendary life and explore the joys and sorrows in her heart.

In the history of Chinese theater, there is such a legendary figure, her life seems to be born for the stage. In 1928, in a family closely linked to the art of opera, a baby girl fell to the ground, and she was the famous Zhao Lirong in the future.

In 1999, Zhao Lirong cried bitterly late at night, begged for euthanasia, and sewed a shroud with a posthumous photo before her death

Zhao Lirong's father is the exclusive makeup artist of the famous Peking Opera actress Furong Hua, and this unique profession opened the door to the palace of art for the little Zhao Lirong.

When she was a baby, her father often took her backstage to let her experience the charm of opera.

Fate seems to have arranged the stage of Zhao Lirong's life. On her first birthday, she was hugged on the stage and played the role of a "color baby" symbolizing festivity.

At that time, Fleur saw the potential of this little girl at a glance, and couldn't help but admire: "This child was born with aura, and he will definitely become an excellent artist in the future!" These words seem to be a prophecy of Zhao Lirong's future, and also point out the direction of her life.

In 1999, Zhao Lirong cried bitterly late at night, begged for euthanasia, and sewed a shroud with a posthumous photo before her death

In the following years, Zhao Lirong and Hibiscus got along day and night, imperceptibly absorbing the essence of the art of commenting on opera. Hibiscus is not only her artistic enlightenment teacher, but also her guide in life.

When she was 12 years old, Hibiscus gave her a name full of meaning - Zhao Lirong, hoping that she could bloom on the stage of art like a lotus.

In addition to giving her a meaningful name, Hibiscus also introduced skilled teachers to Zhao Lirong. In this way, the young Zhao Lirong officially embarked on the road of professional drama performance.

She eagerly learns every stage technique, ponders every expression, and strives to mold herself into a well-rounded performer.

In 1999, Zhao Lirong cried bitterly late at night, begged for euthanasia, and sewed a shroud with a posthumous photo before her death

After three years of hard training, Zhao Lirong's acting skills have improved by leaps and bounds. She is not only capable of playing a supporting role, but also has the strength to challenge the protagonist. During this period, she put in unimaginable efforts.

She gets up before dawn every day to practice, and she is still practicing hard late at night, even if her palms are grinding out thick calluses, she never complains that she is tired.

Zhao Lirong's growth process confirms the old proverb: one minute on stage, ten years off the stage. Her talent, hard work, and dedication to art laid a solid foundation for her later glory.

From an ignorant little girl to a leader on the stage, Zhao Lirong used her own practical actions to interpret what is the cultivation path of an artist.

In 1999, Zhao Lirong cried bitterly late at night, begged for euthanasia, and sewed a shroud with a posthumous photo before her death

This experience not only shaped Zhao Lirong's artistic life, but also deeply influenced her attitude towards life. She always believes that only by giving will there be gains, and only by persevering can she achieve her dreams.

This belief has accompanied her throughout her career and has become her spiritual pillar in the face of life's ups and downs.

As she grew older and improved her skills, Zhao Lirong joined the "Youth Drama Club" and started her real artistic career. On this stage, she made a stunning appearance with the play "Du Shi Niang" and won praise on a par with the famous actor Hibiscus Hua.

This is undoubtedly a great encouragement for the young Zhao Lirong, and it also makes her full of confidence in her acting career.

In 1999, Zhao Lirong cried bitterly late at night, begged for euthanasia, and sewed a shroud with a posthumous photo before her death

However, Zhao Lirong, who tasted success for the first time, also experienced a period of confusion. She began to pick and choose roles, unwilling to play those unlikable supporting roles. That's when her brother gave her a piece of advice for initiation.

He said: "A really good actor should be able to create a variety of different characters, and this is where the real strength lies.

These words are like a beacon that illuminates Zhao Lirong's way forward. She realizes that a true artist should be a generalist, able to handle a variety of roles. With this new realization, Zhao Lirong began to try a variety of different types of roles.

In "Little Erhei Marriage", she successfully created the image of the three fairy aunts and won warm applause from the audience. This successful attempt not only broadened her acting path, but also gave her a deeper understanding of the performing arts.

In 1999, Zhao Lirong cried bitterly late at night, begged for euthanasia, and sewed a shroud with a posthumous photo before her death

Since then, Zhao Lirong has participated in many classic drama works, such as "Liu Qiaoer", "Flowers as the Matchmaker" and so on. Every role is a challenge and a growth.

She continues to break through herself and interpret every role perfectly, winning unanimous praise from the industry and the audience.

Zhao Lirong's upbringing tells us that a true artist needs to constantly challenge themselves and push boundaries. Not content with a single role type, she strives to make herself an all-round performer.

Whether it's comedy or tragedy, whether it's the protagonist or the supporting role, she can handle it with ease.

In 1999, Zhao Lirong cried bitterly late at night, begged for euthanasia, and sewed a shroud with a posthumous photo before her death

This diverse performance experience laid a solid foundation for Zhao Lirong's future artistic career. Her performance style has gradually formed, with both the delicate and graceful drama of Pingju and the liveliness of modern drama.

This unique artistic charm makes her stand out among many actors and become an artist loved by the audience.

Zhao Lirong's story is not only her personal history of artistic growth, but also an inspirational legend of perseverance, breakthrough and innovation. She uses her own experience to tell us that only by constantly challenging ourselves can we go further and higher on the road of art.

1988 was a new turning point for Zhao Lirong, who was over the age of six. This year, she was invited to participate in the Spring Festival Gala for the first time, and co-performed the sketch "Emergency" with You Benchang.

In 1999, Zhao Lirong cried bitterly late at night, begged for euthanasia, and sewed a shroud with a posthumous photo before her death

Although she is already a senior actor, Zhao Lirong still can't help but feel a little apprehensive in the face of the national audience. However, the moment she stood on the stage, her years of accumulated stage experience allowed her to quickly find her best condition, and her wonderful performance won bursts of applause from the audience.

This successful attempt seemed to open a new door. The following year, Zhao Lirong once again joined hands with cross talk master Hou Yaowen to bring the sketch "A Day of a Heroic Mother".

This work not only brought joy to the audience, but also made the national audience remember the name Zhao Lirong. Since then, the Spring Festival Gala stage has become a new starting point for Zhao Lirong's career and the best platform for her to show her talent.

In 1992, Zhao Lirong cooperated with actor Gong Hanlin for the first time, bringing the sketch "Mom's Today". This cooperation is perfect, and the tacit cooperation between the two makes the audience laugh constantly.

In 1999, Zhao Lirong cried bitterly late at night, begged for euthanasia, and sewed a shroud with a posthumous photo before her death

Since then, Zhao Lirong and Gong Hanlin have become golden partners on the stage of the Spring Festival Gala, and they will bring exciting performances every year.

In the following years, Zhao Lirong and Gong Hanlin created many popular works, such as "So Packaged" and "Adventures of Part-time Jobs". Among them, the classic line "Palace Jade Liquor, One Hundred and Eighty Glasses" in "The Adventure of a Part-time Job" is still talked about by people today.

The various sketch characters created by Zhao Lirong are full of life, humorous and full of life philosophy, and are deeply loved by the audience.

Zhao Lirong's performance style is unique. She is good at incorporating the details of life into her performances, so that the audience can feel the reality of life in laughter. Her characters are often ordinary people, but she can reflect the changes in society and the complexity of human nature through these ordinary characters.

In 1999, Zhao Lirong cried bitterly late at night, begged for euthanasia, and sewed a shroud with a posthumous photo before her death

Her performances have both the delicacy of drama and the humor of modern comedy, perfectly combining traditional art and modern performance.

On the stage of the Spring Festival Gala, Zhao Lirong created one classic role after another. From market aunts to intellectuals, from rural women to urban white-collar workers, every character she portrays is lifelike, allowing the audience to experience the world in laughter.

Her performance is not only for Bojun to laugh, but also to reflect social reality and convey positive energy through the form of comedy.

Zhao Lirong's success on the stage of the Spring Festival Gala is not only the pinnacle of her personal artistic career, but also a milestone in Chinese comedy art. With her unique performance style and profound artistic skills, she conquered the national audience and became a well-deserved "queen of comedy".

In 1999, Zhao Lirong cried bitterly late at night, begged for euthanasia, and sewed a shroud with a posthumous photo before her death

Her success tells us that as long as we maintain love and perseverance, age is never a limit, and the excitement of life can bloom at any time.

For 71-year-old Zhao Lirong, 1999 should have been another peak in her artistic career. However, fate played a cruel joke on her.

Just as she was about to appear on the stage of the Spring Festival Gala, the doctor told her that she had advanced lung cancer.

In the face of this bad news, Zhao Lirong showed admirable calmness. She said to her family: "Birth, old age, sickness and death are normal human feelings. I have gone through more than 70 spring and autumn seasons and experienced countless ups and downs, so what is there to be afraid of? This calmness stems from her awe of life, and her love for art comes from the courage and wisdom she has accumulated on stage over the years.

In 1999, Zhao Lirong cried bitterly late at night, begged for euthanasia, and sewed a shroud with a posthumous photo before her death

In order not to affect the performance, Zhao Lirong's family chose to hide her illness. With her attachment to the stage and her deep affection for the audience, Zhao Lirong once again stood on the stage of the Spring Festival Gala and brought the audience the sketch "The Old Will Come Out".

Despite her physical illness, she still threw herself into the performance, and with her professionalism and dedication, she gave the audience a final laugh.

On the stage, Zhao Lirong seemed to have forgotten her illness and age, her eyes were still bright, and her movements were still flexible and free. She uses her performances to tell the world what is the true spirit of an artist.

Even at the end of her life, she still dedicates joy to the audience and contributes her own strength to art.

In 1999, Zhao Lirong cried bitterly late at night, begged for euthanasia, and sewed a shroud with a posthumous photo before her death

When Zhao Lirong learned of her illness after the performance, she did not panic or complain, but calmly accepted the fact. Even on the way home, she began to prepare for what would happen to her.

She took out a photo and handed it to the nanny and said, "This is my last posthumous photo." This indifference, this calmness, people can't help but be moved.

In the last stage of her life, Zhao Lirong sewed the shroud with her own hands, and also prepared white socks and white shoes. She used her actions to interpret what it means to "laugh at life and face death calmly".

However, even such a strong woman would cry bitterly because of the unbearable pain in the middle of the night when no one was around. At this moment, she is no longer a radiant comedy queen on the stage, but just an ordinary old man who will feel fear and helplessness in the face of death.

In 1999, Zhao Lirong cried bitterly late at night, begged for euthanasia, and sewed a shroud with a posthumous photo before her death

Zhao Lirong's last performance is not only the perfect curtain call for her artistic career, but also her last tribute to life. In her own way, she tells us that even at the end of life, we should maintain our love of life and the pursuit of art.

This spirit will forever inspire future generations.

In the last moments of her life, Zhao Lirong's courage and strength showed us a real, three-dimensional image of an artist. She is not only the queen of comedy on the stage, but also an ordinary person who bravely faces challenges in life.

Her story teaches us that the value of life is not about the length of time, but about how we get through each day and how we shine in our own field.

In 1999, Zhao Lirong cried bitterly late at night, begged for euthanasia, and sewed a shroud with a posthumous photo before her death

At the last moment of her life, Zhao Lirong always had a deep regret in her heart - failing to let her mother spend her old age in peace. This regret became the biggest knot in her later years, and it also let us see the soft side of this comedy queen.

Zhao Lirong's life spans several important periods in the Chinese performing arts. From drama reviews to movies, TV series, and then to the stage of the Spring Festival Gala, she has made great contributions to China's comedy industry with her talent and sweat.

Her artistic career is a microcosm of the development of Chinese theatre, witnessing the transformation of Chinese performing arts from tradition to modernity.

In July 2000, Zhao Lirong wore a shroud sewn by herself and passed away peacefully. She once said: "I am just a commoner, I am willing to come with a plain heart, and I will leave with a plain heart."

In 1999, Zhao Lirong cried bitterly late at night, begged for euthanasia, and sewed a shroud with a posthumous photo before her death

However, her artistic achievements and personality charm have left an extraordinary mark on people's hearts.

Even today, 20 years after her death, Zhao Lirong's works are still celebrated. Her artistic career has left us with valuable inspiration: the pursuit of art requires talent, but also diligence; Success requires opportunity, but also persistence.

Zhao Lirong's life is a legendary story of love, perseverance and breakthroughs, which will always inspire future generations. Her spiritual legacy will always be a precious treasure of Chinese comedy art.

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