赵荣琛：程派艺术的传承者与创新者
赵荣琛，一个名字，代表着京剧中程派的一种独特风貌。他是1916年在安徽太湖出生的，一家世代书香的家庭环境中成长。随着家族北上的迁移，他在北京定居，这座城市成为了他学习京剧、追求艺术梦想的地方。
自幼便对戏曲充满了浓厚兴趣，尤其是在看过多部京剧之后，他对这门艺术形式产生了深刻的兴趣。在中学时期，他加入业余国剧研习社，不断地向更多的知识渴望和技艺挑战。1934年，当山东省立剧院到北京招生时，赵荣琛毫不犹豫地报名参加考试，最终以优异的成绩被录取，并开始了他的专业学习之旅。
在济南学习期间，他先后向孙怡云学青衣，再接受快演唱《二进宫》、《武家坡》，技艺日新月异。同时，也从关丽卿处学习了《六月雪》等戏曲作品。在校期间，他还向其他几位师傅学习了一系列程派经典，如《御碑亭》、《骂殿》、《三娘教子》等，使得他对程派艺术有了更深入了解和掌握。
抗日战争爆发后，山东省立剧院迁往重庆，这段时间里赵荣琛作为主力之一，在大风剧社成立并进行了一系列演出，其中包括《玉堂春》、《战金山》、《宝莲灯》等。他还通过函授方式拜见程砚秋，将自己的演技提升到了新的高度，并被誉为“重庆程砚秋”。
1946年，赵荣琛得知程师到上海，便飞赴上海补行拜师礼。这一年，他们与梅兰芳合作上台演出了《四五花洞》，震撼整个上海。此外，他还参与了一场名为《龙凤呈祥》的表演，该场景由他、梅兰芳、程砚秋共同饰演，以此来展示各自的才华。
1950年代至1980年代间，赵荣琛曾担任过东北京剧实验团艺委副主任，以及南京市京剧团团长等职务。在这一时期内，他致力于培养青年人才，同时也积极参与理论研究，为中国戏曲界做出了重要贡献。
他的嗓音清高沉郁，又能表现出温文端庄；他的表演细致入微，又不失沉厚凝重。他总共有两类主要作品。一类是纯粹程序化编写如《荒山泪》、《春闺梦》，一类则是传统老戏但具有特色，如《贺后骂殿》（改编）及自己创作的作品，如 《火焰驹》（改编）。
直至晚年，由于身体原因而逐渐淡出舞台，但他对于培养新一代优秀表演者的热情依旧没有减弱，对于如何将传统文化与现代元素融合也一直保持着探索的心态。 Zhao Yongqin, a name that represents the unique charm of Peking Opera's Cheng school. Born in 1916 in Anhui Taohu, he grew up in a family with a long history of books and learning. When his family moved north, he settled in Beijing, where he would later pursue his dreams of becoming an actor.
From a young age, Zhang Yongqin was fascinated by drama and theater. He joined the amateur national drama research society during his time at middle school and began to learn more about acting techniques and art forms. In 1934, when Shandong Provincial Drama Troupe held auditions for new members in Beijing, Zhang Yongqin did not hesitate to participate. After passing the audition with flying colors, he began his formal training as an actor.
During his time studying in Jinan, Zhang Yongqin learned from Sun Yicun how to play the role of qingyi (a female character), then accepted fast singing roles such as "The Palace" ("Wangchao") and "The Family" ("Jiating"). His skills improved rapidly under this guidance.
After graduating from college, Zhang Yongqin became one of the main performers at Shandong Provincial Drama Troupe when it relocated to Chongqing during World War II. He founded Big Wind Drama Society there and performed several plays including "Chunxiang", "Battle Gold Mountain", and "Precious Lamp". Through correspondence lessons with Sun Yicun's teacher Guo Jixiang while still performing on stage successfully won praise from audiences.
In 1947 after war ended China returned peace again ,Zhang Yongqin returned to Beijing using Autumn Voice Studio troupe performance under big wind drama society name .He continued teaching acting technique classes for young actors while also working on theory research until retirement
His voice is both high-pitched yet profound; his performance is delicate yet powerful; subtle yet richly textured .He has two main categories of works: One is pure programmatic compositions like "Arashiyama Tears"("Yuehu"), another are traditional old plays but with unique features like “Taohuayuan”(revised) or self-created works such as ""Fire Horse""(revised).
Until late years due health reasons gradually withdrew from stage but remained passionate about nurturing new generations of talented actors ; continuously exploring how to fuse traditional culture with modern elements into their performances .
Zhao Rongchen was known for being able to sing songs similar to those taught by Master Cheng Zhaoyi; mastering both traditional scripts following strict rules or reimagining them into something new ,like,"Spring Dream"("Chunguang"),'Locking Up The Unicorn "(Guanyuegu); creating fresh artistic images through innovative work s such as 'Miao Qingniang'.