On November 1, 2026, the Beijing People’s Art Theatre announced that Lu Qi passed away in Beijing at the age of 101, as reported by Xinhua News Agency. Known for his extensive stage career and memorable screen appearances, Lu shaped generations of Chinese theatrical and cinematic storytelling.
The Bottom Line
- Lu Qi passed away on November 1, 2026, at the age of 101 following an illness, according to the Beijing People’s Art Theatre and Xinhua News Agency.
- He spent decades with the Beijing People’s Art Theatre, performing in over 70 stage productions including Aesop and Li Bai.
- Audiences widely recognized him on screen as the cautious “Editor-in-Chief Chen” in the hit television series Stories from the Editorial Board and as the strict opera troupe master in Chen Kaige’s film Farewell My Concubine.
From Shandong Roots to the Nanjing National Theatre School
Born Lu Changqi in August 1925 with ancestral roots in Shandong, the young artist eventually enrolled in the Nanjing National Theatre School. That foundational training launched an artistic journey that bridged traditional theatrical practices with modern dramatic interpretation. After entering military performance troupes in 1949 and later serving in the PLA Naval Political Department Cultural Troupe, his path converged with the capital’s premier drama institution.
In 1954, Lu officially joined the Beijing People’s Art Theatre, tying his career permanently to the company’s institutional identity. During decades of active stage practice, he tackled an exceptionally broad repertoire without being boxed into a single character type. His stage credits spanned more than 70 productions, ranging from foreign classics and historical Chinese dramas to modern works and experimental pieces.
Shaping the Stage at the Beijing People’s Art Theatre
Within the walls of the Beijing People’s Art Theatre, Lu’s craftsmanship earned the deep respect of fellow actors and directors. He portrayed diverse roles such as Yuan Rengao in The Peking Man, the philosopher Aesop in Aesop, and King Goujian of Yue in King Goujian. His interpretations also touched classic tragedies and comedies like Thunderstorm, Wild Man, and The Visit.
Fellow artist and acclaimed actor He Bing later recalled working alongside Lu during rehearsals for the play Li Bai, where Lu played a minor Taoist priest role. He noted that Lu’s vibrant, magnified performance style diverged sharply from conventional everyday realism yet carried absolute conviction, describing Lu’s execution as an uncopyable masterclass in stage presence.
Silver Screen Memorability in Classic Television and Film
While his primary professional devotion remained anchored to the theatrical stage, Lu’s late-career television and film roles brought his understated artistry into millions of households. In 1992, the broadcast of the landmark television comedy Stories from the Editorial Board placed Lu in the role of Chen, the pragmatic, worldly, yet secretly protective magazine editor steering a chaotic newsroom.
Lu balanced the character’s cautious bureaucratic exterior with genuine warmth toward younger colleagues like the characters played by Ge You. Following that television success, Lu appeared in Chen Kaige’s 1993 feature film Farewell My Concubine as the severe opera school Master Guan. In just a few brief scenes, he embodied the harsh discipline and uncompromising devotion demanded by traditional Peking opera culture.
A Legacy Shared with a Generation of Artists
Lu’s passing marks the quiet departure of another pillar from a foundational era of Chinese drama, following the earlier losses of fellow Stories from the Editorial Board cast members such as Zhang Tong in 2007 and Tong Zhengwei in 2025. Late poet and artist Su Min once described Lu’s personal demeanor and artistic delivery with a verse praising his effortless humor and warm companionship.
Lu maintained a private personal life alongside his wife, fellow actor Hong Zhenyuan. Throughout a century spanning war-era beginnings, institutional establishment, and modern media waves, his career demonstrated that enduring cultural impact often resides in the precision of a supporting role.
