1949 returned to Guangzhou with the PLA. Then, as a member of China Youth Art Troupe, I went to Eastern Europe to attend the 3rd World Youth Art Festival.
1954, South China Repertory Theatre sent her to the training class for directors of the Central Academy of Drama, where she received systematic and strict training in stanislavski's drama table and director system. In the graduation performance, Pan Yu successfully played the leading role in the famous early Soviet drama Lyubov Yalova. Her outstanding performance was praised by foreign experts, calling her "a white cloud in the blue sky".
The directing art of experts and professors has been embodied in Pan Yu's role creation, which laid the foundation for her future directing career. Pan Yu, from an actor to a director, also directed and acted. He has played roles of different times and different nationalities, such as the Pearl River Delta woman full of earthy flavor (thunderstorm in the Pearl River), indomitable Jie Jiang (Hongyan), Liu full of hardships and compromises (having fun in suffering), a ray of light in dark kingdom, Katrina, and Russia (thunderstorm). Her plays such as Young Generation, New Seedlings in the Frontier, Looking at Chang 'an in the West and In Full Bloom not only make the audience feel the inner strength of each role on the stage, but also have a strong flavor of the times.
1963, ranking of the younger generation. From the very beginning, we firmly grasped the main line of three generations of grandmothers, emphasizing the theme of inheriting the revolutionary cause. Ask questions to the audience through this play: on the one hand, it is a lofty ideal and hard practice, on the other hand, it is a warm small family and a comfortable life; If it were you, what would you choose? When choosing actors, Pan Yu has bold ideas. She played Lin Yusheng by a young actor with heavy eyebrows and charming eyes, while Zhang, who was a slender figure, played him as a child. Some people worry that this will damage the heroic image and think that it should be reversed. But Pan Yu has her own ideas: Lin Yusheng, who looks strong, has been spoiled for a long time but has a weak and empty soul; The delicate little one has a stubborn personality and lofty ideals. Different images make ideological opposition more intense, and praise for Xiao and criticism for Lin are more powerful. In addition, Pan Yu mainly inspired the actors to explore Lin Yusheng's inner world when he was "reading bloody books". Ask the actor to be pregnant with Lin Yusheng's mother, just like the image of Jie Jiang who died peacefully in Hongyan. The actor's understanding of the role has deepened. The performance here is not only full of tears, but also full of reverence and nostalgia for parents who died heroically, as well as regret and shame for their mistakes. Pan Yu believes that in order to let the audience not only know the characters from the external features of the stage image, but also get a glimpse of the characters' souls through external actions, it is necessary for the actors to constantly enrich and tap the inner world and spiritual essence of the characters. As soon as the play was staged, it was performed in Guangzhou for nearly 200 consecutive performances. Comrade Tao Zhu said to him, "You are old, and it is appropriate to play Grandma Xiao. You play well." Comrades of the crew were also received by Premier Zhou.
After ten years of catastrophe, Pan Yu directed Save Her, Rent a Bride, and Late Flowers. While arranging to "save her", I went to the shelter to go deep into life. When she saw the mental state of those young people who had gone astray, she felt heartbroken and couldn't help shouting "Save the children" from the bottom of her heart. She felt a heavy social responsibility on her shoulders and devoted her enthusiasm and hard work to the play. Li in the play can be said to be the evolution of Lin Yusheng in the new era, and her fall has certain social and family reasons. When dealing with the scene where Li Fu heard that Li had done something bad and wanted to cut her with a knife in a rage, the director asked the actor to take a real white steel knife to the stage and landed with a bang, and the audience gasped. "Ah, it's a real knife! People will die. " This effect naturally leads the audience to the specified situation in the play and makes the director think-"This kind of parenting is dangerous and useless, and you will lose your child!" -vividly understood by the audience. These details, seemingly understated, are actually profound and penetrating. When dealing with a scene of fighting between Li and Cao, he paid great attention to proper limit and asked the actors to practice one trick and one style, and fight like a real fight, but not too much; There should be a stage atmosphere, not grandstanding. She believes that these scenes appear on the stage, according to the specified situation, should be just right, not excessive, so as to avoid the abnormal reaction of the theater simply to appreciate the extraordinary skills of the actors, so that the audience can jump out of the life of the characters in the play to comment on an actor's skills. In the play, Mr. Fang is also played, and the audience can feel Mr. Fang's fire-like enthusiasm. He awakened Li's dying soul with that immortal love.
Work 1984 plays the role of mother in the movie "There is no one-way street in life". In the same year, she played three old ladies in the film The Tree of Life and Death.
1985 Guangdong Theatre retired.
1994 starred in the director's film Woman Flower, which was adapted from Su's novel Sisters in the Dust.
1997 won the Best Actress in the 3rd Shanghai International Film Festival, the Best Actress in the 4th China Film Huabiao Award, and the Best Actress in the Golden Rooster Award of Chinese Film in 18.
Character evaluation has struggled for decades on the stage of drama and film and television art.