Three Taos and Three Springs is a Peking Opera story written by Wu Zuguang. In the Five Dynasties, Zheng En was severely beaten by Tao Sanchun, a melon-watching woman, for stealing watermelons. Later, with the help of Zhao Kuangyin, Zheng En and Tao Sanchun got married. After Zhou Shizong and Chai Rong succeeded to the throne, Zhao Kuangyin was named King of Nanping, Zheng En was named King of Beiping, and Zheng En was allowed to marry Sanchun. Zheng En is afraid of getting married because he is afraid of being beaten again.
Under the planning of Zhao Kuangyin, General Gao Huaide attacked Tao Sanchun disguised as a red beard. After a fierce battle, Gao Huaide was dismounted by Sanchun, but Gao Huaide told the truth for mercy. Tao Sanchun was furious and broke into the palace to settle accounts with Zheng En. Zheng En saw that Tao Sanchun broke into the Golden Hall and quickly hid.
Chai Rong ordered the body-guard to capture Tao Sanchun, and didn't want the body-guard to be beaten out of the water by Sanchun. Chai Rong had to order Zhao Kuangyin to find Zheng En overnight to arrange Zheng En's marriage with Tao Sanchun. Three spring unbearable, and Zheng En hands, Zheng En played several rounds. At this point, Chai Rong and Zhao Kuangyin rushed to stop the fight.
Wu Zuguang's Early Experience
After 1949, Wu Zuguang successively served as director of the Central Film Bureau and Beijing Film Studio, head of Mudanjiang Art Troupe, screenwriter of China Opera Academy, China Opera Research Institute and Beijing Peking Opera Theatre, professional creator of the Art Bureau of the Ministry of Culture, member of China Federation of Literary and Art Circles, executive director and vice chairman of China Dramatists Association, and honorary chairman of Friendship Publishing Company.
After the founding of New China, Wu Zuguang published drama collection Snow Collection and prose collection Flower of Art, and also directed many art films. After 1954, Wu Zuguang directed the films Mei Lanfang's Stage Art, Luo Shen and Tears in the Barren Mountains, which left extremely precious materials for Mei Lanfang and Cheng, two Peking Opera masters. 1957 was wrongly classified as the Rightists, and the labor in Beidahuang (Heilongjiang Reclamation Area) was decentralized.