Zhu Yunxiang holds a Bachelor's and a Master's degree from the Central Academy of Drama, with systematic expertise in the full spectrum of puppet design, fabrication, performance, and stage character styling. His original works have received multiple provincial-level and higher professional awards. He has participated in a provincial-level public cultural service special fund-supported art project in Henan Province. His works have been staged at national-level venues such as the Beijing Tianqiao Performing Arts Center and the China National Theatre for Children, with over 50 performances nationwide. He has also been involved in the creation and production of numerous graduation productions at his alma mater.

Zhu has long focused on the contemporary transformation and cross-media integration of traditional puppetry, committed to advancing its innovative expression and public dissemination in the modern context. He has conducted puppetry workshops for diverse groups, promoting the art form's accessibility and participatory engagement in schools, communities, and rural areas.

In April 2026, he was invited to join the Asian Art Association Singapore (Puppetry and Shadow Puppetry).

I have always believed that puppetry is a "living art" that transcends language and culture—a unique bridge connecting tradition and contemporaneity, humans and objects, and reality and imagination. Traditional puppetry carries centuries of ethnic aesthetics and collective memory, while puppetry in the contemporary context should not be merely a specimen in a museum, but a living entity that breathes, grows, and engages in dialogue with our time.

I believe that the essence of puppets is the "extension of humanity." Through the warmth of materials, the poetry of movement, and the narrative of light and shadow, puppets can carry the most delicate human emotions and the grandest thoughts. My creative practice consistently adheres to the principle of "upholding tradition while pursuing innovation"—preserving the integrity of traditional techniques while creating new forms of contemporary expression. I strive to integrate cutting-edge technologies such as artificial intelligence and digital media with traditional puppetry, dissolving the boundaries between artistic genres. At the same time, I remain rooted in public cultural spaces, bringing puppetry out of professional theatres and into communities, schools, and villages, making it an art form that everyone can touch, participate in, and create.

The ultimate meaning of art is to awaken people's perception of life and reverence for existence. Using puppets as a medium, I aim to convey the power of art through the warmth of human touch, revitalising the ancient art of puppetry for the contemporary era, and transforming it into a spiritual bond that connects generations and cultures.

Second and Third Prizes in the Puppet Group of the 7th and 8th Beijing College Student Character Styling Design Competition;
Vermilion Bird, a project supported by the 2023 Henan Provincial Public Cultural Service Special Fund, serving as Puppet Designer, Fabricator, and Puppetry Performance Director;
Walking with the Breeze, performed at the Beijing Tianqiao Performing Arts Center's 2nd Traditional Revival Program and the China National Theatre for Children, serving as Puppet Designer;
Hamlet LTE, performed at the 2024 Lengjing MINI Drama Festival, serving as Director and Puppet Designer;
The Gift and The Sunrise, Central Academy of Drama creative practice projects, serving as Puppet Designer;
The Robbery, a graduation production of the Central Academy of Drama's Directing Department, serving as Costume Designer;
Mask (Beijing International Puppetry Festival), Mr. Mask and Miss Hungry (Shenzhen Bay Youth Theatre Festival), CatsSay (Qingshan Qunxiang Art Season), The White Rhino Incident (Hangzhou Feng Theatre Opening Season), serving as Assistant Puppet Designer and Fabricator.