孙怀仁，黄梅戏旦行演员兼导演巨匠，1950年考入安徽艺术专科学校戏剧科，从严格的表演训练开始 her journey. 1958年，她见证了梅兰芳在安徽的演出，尤其是《打焦赞》中的杨排风一角深受她青睐，并接受了梅兰芳亲自指导化妆和挑花线动作的宝贵教诲，这些经历对她产生了永恒的影响。加入黄梅剧团后，她扮演各种角色，从花旦到刀马旦、彩旦、老旦到娃娃生，不仅在与严凤英、王少舫等艺术家的合作中学习到了无数技巧，也在这个过程中不断成长。
1980年，孙怀仁进入中国戏曲学院导演系进修，在那里 she systematically studied the theories of various forms of world theater, often self-composing, self-directing and self-performing, and actively learning from her peers. After one year of study, she returned to the troupe and directed a performance in Hong Kong, followed by directing Dragon Maiden , during which she discovered Ma Lan's exceptional qualities as an actor. Later, she also directed The Wind Dust Painter and No Trouble at All. These three plays are known as "Ma Lan's Trilogy", but they were actually Sun Huaren's trilogy.
As someone who started out as a performer herself, Sun Huaren was particularly aware of what actors needed when it came to directing. She was skilled at helping actors choose the right techniques to portray their characters, making her both a mirror for performers and a trusted friend.
Even after retirement, Sun Huaren continued to ponder the future of Huangmei Opera art. She believed that Huangmei Opera had to constantly remember its audience; it had to make them feel comfortable coming into theaters and sitting down to enjoy the performances. Innovation was necessary for Huangmei Opera's development but should not stray too far from its essence. In terms of Huangmei Opera's development coordinates, Sun Huaren occupied a position between past achievements and new beginnings - first learning from serious figures like Shen Fengying and Wang Shaofang before later guiding Ma Lan and Wu Yaling on stage again for Xiao Mei Hua (Little Plum Blossom).
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