Zhu Lin's artistic achievements.

Zhu Lin worked hard on the stage of drama all her life, and she successfully created more than 50 stage roles. For example, Grafila in Egor Bridgioff and Others, Mrs. Ruggiev in Tiger Symbol, Najia in Gunman, Gu in High Garbage, Shop Assistant, Cai Wenji, Natalia in Three Sisters and Qian Furen in Flowers Everywhere. After the Cultural Revolution, she played Natsume in Xianheng Hotel, Claire in The Return of the Lady, Linda in Death of a Salesman, Fangxiya in Foreign Mahjong, and Lady Politomar in Major Babara, and was known as the "Great Tsing Yi" on the stage of Beijing people's arts.

In the late 1950s and early 1960s, in Jiao Juyin's trilogy "Tiger Elephant", "Cai Wenji" and "Wu Zetian", Zhu Lin's performance successfully applied the aesthetic spirit of national drama and became one of the practitioners in the exploration of the nationalization of Jiao Juyin's drama. At this stage, Zhu Lin studied hard the art of national opera and borrowed its spirit and form. Pay attention to the inner beauty of the characters with distinctive body movements. On the basis of drawing lessons from life, her performance has both profound experience and vivid performance. In the rehearsal of Tiger Father, Zhu Lin transformed his open-minded and noble sentiment into a poetic stage performance. She combined the freehand brushwork with the realistic performance form, and drew lessons from some performance methods of China traditional opera, which made the theory of performance nationalization advocated by Jiao Juyin have the embryonic form of practice. The exploration of nationalization of Cai Wenji's drama has entered a perfect stage. After watching her performance of Cai Wenji, Guo Moruo said, "Comrade Zhu Lin's performance of Cai Wenji is vivid", and even wrote a poem praising Zhu Lin, "It is Hu Jia to distinguish the piano and Chanz early. The desert wind and sand blew a strange flower. " In Wu Zetian, Jiao Juyin emphasized "silent lines", while Zhu Lin not only showed the imperial demeanor of a female politician, but also showed her normal mentality as a mother and a woman.

After the Cultural Revolution, Zhu Lin shined brilliantly in several foreign works. Linda in Death of a Salesman is one of her stage masterpieces. She is good at controlling and igniting emotions while maintaining a natural state. Especially in the requiem at the end of the whole play, Zhu Lin used her breath to control her emotions, so that the frightened and tragic emotions of the characters turned inward, completing what the director said, "You don't cry, let the audience cry for you", which deeply touched the hearts of the audience. Director Arthur Miller spoke highly of this. In Mahjong, another American work, Zhu Lin clearly shows the character, feelings and rich background of the lonely old man Fangxiya step by step. She and Yu Shizhi have a tacit understanding, and their complex and subtle mentality is vividly interpreted. Become an eternal classic on the Beijing people's art stage.

She has multiple identities such as director, screenwriter and literary creator. He has participated in directing plays such as Brothers in Class 61 and On the Street, and co-authored and published professional books on performing arts with his wife Diao Guangqin. Zhu Lin plays the role of cultural emissary in cultural exchanges at home and abroad. In 1980s, she visited China with a delegation of Japanese dramatists and forged a deep friendship with Japanese performance artist Haruko Sugimura. After that, she not only visited Japan twice, but also visited the United States at the invitation of the US Information Agency. 1985 went to Hong Kong to perform with the crew of Death of a Salesman. 1986 went to Singapore to perform Death of a Salesman. In the same year, he and his wife Diao Guangqin directed Warbasse Khan for the Hulunbeier League Drama Troupe. 1988 went to Baotou, Inner Mongolia with Diao Guangqin to direct the Manchu drama Eight Doors of Khan and Monument to the Martyrs for the Manchu Art Theatre. She directed the Lantern Drama "Seven Sisters and the Snake Lang" for Guizhou Lantern Troupe, which made this local drama get attention and preservation. In his later years, Zhu Lin made great contributions to the development of local operas.

In 20 12, when she was nearly 90 years old, she took the stage and played Grandma Wang in the drama "Koshien Garden", which was a gift for the 60th anniversary of Beijing People's Arts. This was her last appearance on the stage of the Capital Theatre, and Zhu Lin, who was in a wheelchair, insisted on completing the performance.