Around the 1940s, literary and artistic workers in the Shaanxi-Gansu-Ningxia Border Region carefully collected and organized this folk art for the needs of publicity work and to save the sentiment of Longdong Dao.

They used the form of Daoqing to compile street plays for publicity, reviving this dying folk art and accumulating certain experience for the development of Daoqing.

After the founding of New China, in order to prosper culture and art and enrich the people's cultural life, in 1952, the Gansu cultural department began to organize a large number of opera and music workers to systematically collect and organize Longdong Taoist sentiments.

In 1956, the National Folk Music and Dance Festival was held in Beijing. Old artists such as Shi Xuejie, Xu Yuanzhang, Jing Tingxi, and Zhao Jianji from the Gansu delegation sang Longdong Daoqing's "Second Sister Dreaming" in the form of seated singing. , was widely praised and encouraged.

In 1957, the Qin Opera Troupe in Qingyang, Gansu performed experimental performances of the classical plays "Killing the Temple", "Paintings on the White Jade Tower", and "Liu Qiaoer" on the stage in the form of real people. For the first time, the sentiments of Longdong Road were brought to life in the form of shadow puppets. He went on stage and tried to switch from shadow puppets to stage plays, and achieved great success. Since then, Longdong Daoqing, an ancient folk art, has been active on the stage with a new look.

In 1958, the Qin Opera Troupe in Huanxian County, Gansu Province performed experimental performances such as "The Golden Hairpin", "Mountains and Flowing Waters", "Selecting a Son-in-Law", "Three Mile Bay", and "Killing the Temple". In the same year, Gansu Qin Opera Troupe performed Longdong Daoqing's traditional plays "Second Sister's Love for Spring" and "Noisy Palace" and new modern plays "Six Girls" and "The Last Bell" at the drama viewing and performance conference in the five northwest provinces. , which received widespread acclaim.

In 1959, the Gansu Provincial Opera Research Institute established the Longdong Daoqing Theater Troupe. Gao Shijie, Di Zuoren and others went deep into Huanxian County, Gansu Province, and once again collected, organized and researched the Taoist music of shadow puppets.

In the same year, the choreography of the large-scale classical opera "Fengluochi" enabled Longdong Daoqing to have a relatively complete stage art scale in practice and became a new type of opera.

On the wheat field, they learned and sang Daoqing operas over and over again from old Daoqing artists from all over the world.

"Maple Lake" debuted on the stage and became a representative play of Longdong Daoqing. It takes part of the plot of the legendary Kun Opera play "Fisher's Music" as clues, reimagines it, boldly innovates, and creates a precedent for Longdong Daoqing to perform large-scale plays.

"Fengluochi" tells the story of the late Eastern Han Dynasty, when Liang Ji, the grand master, was planning to choose Ma Yaocao, the daughter of Sinong Ma Rong, as his concubine. Ma Rong disagreed in his heart, but was frightened by Liang Ji's power. Kamiya had no choice but to agree. Later, Ma Rong secretly scouted Wu Feixia, a fisherman girl, and prepared to stage a transfer scheme. Ma Yaocao couldn't bear to implicate Wu Feixia, so he staged a story about two Yaocao outwitting Liang Ji.

The reason why the creator chose to adapt this traditional play is mainly to find more integration points from the profound traditional opera, so that Longdong Daoqing, a play with local characteristics, can be More reference elements.

For this reason, in order to stage the Longdong Daoqing Shadow Puppetry, the creator tailored a drama that was both convenient and suitable, so he chose "Maple Luo Pond".

The successful performance of "Maple Lake" enabled Longdong Daoqing to find a more stable aesthetic fulcrum, laying a heavy foundation for Longdong Daoqing's future foothold and development.

On the basis of inheriting the Taoqing music of Longdong, the music of "Fengluochi" has undergone major innovations and created some new styles, such as adagio, tight pace, loose style, and Erliu style. wait.

For example, in the application of the mahuang technique, it breaks through the traditional formula of two or four sentences with one reed. According to the needs of the plot and the emotions of the characters, the mahuang is used in the most important situations such as sadness and joy. Emotional places make the plot more intense.

The creators have made bold explorations in solo singing, unison singing, duet singing, chorus, male and female vocal ranges, range processing and mode conversion, enriching and enhancing narrative, lyrical and character-shaping music. expressiveness.

In addition, in terms of directing skills and performance skills, "Fengluochi" not only follows the traditional opera performance system, but also appropriately absorbs some figures and gestures from Longdong folk songs and dances and shadow puppets, as well as opera, The acting and directing skills of dramas and movies have created novel and unique body movements such as swinging willows in the wind, rounding off the ground, shaking sideways, and crying sideways. At the same time, it is these innovations that have contributed to the great development of Longdong Daoqing.

The stage art of "Maple Lake" puts the set design in a dominant position, and the set reflects the style of the play. There are 7 scenes in the whole play, and scenes are used in each scene. Through cropping, the framing is bright, concise, elegant and beautiful, achieving a harmonious style of both realism and freehand brushwork.

The stage props of this play have abandoned the traditional table skirts and chair covers, and are all arranged according to the requirements of a realistic environment. Whether it is a crude stool, a hexagonal table or a round drum stool, they all strive to be exquisite and real.

In this play, the headdresses of the male and female actors are based on the shapes of shadow puppet figures and the hair accessories of ladies in Dunhuang murals. They break through the shape of traditional opera buns and create their own cloud bun and swallowtail hairstyle, which is revealed in the carved patterns. It shows the style of shadow puppet show.

In addition, the costumes of the actors are based on the costumes of raw and female actors in traditional Chinese operas, and bold attempts have been made in styles, colors, fabrics, compatibility and wearing rules.

The improved style is generous and stretched, with bright and soft colors and exquisite patterns. The fabric is made of weakly reflective satin, which is high-quality, soft, light and elegant. This novel costume has fundamentally changed the Longdong Daoqing costumes. changes.

Although the story of "Maple Lake" is not bizarre, this play has reformed and innovated Longdong Daoqing in terms of performance, music, stage art, etc. The reformed vocal style was more suitable for opera singing, and the original shadow puppets behind the curtain were replaced by actors. In this way, a play has roles such as raw roles, female roles, and clowns.

"Maple Lake" came to Beijing to perform. This local opera became very popular as soon as it debuted in Beijing. It was performed for more than 20 consecutive performances, and the applause continued in every performance. The audience called this play "Longshang Weibo".

After watching "Maple Pool", drama celebrity Mei Lanfang personally wrote a review article for the play. The famous Peking Opera actor Gai Jingtian also personally designed martial arts movements for the actors.

In 1960, based on the suggestions of relevant experts in the opera industry, Longdong Daoqing was officially renamed "Long Opera", and the Gansu Provincial Long Opera Troupe was established at the same time. Long Opera has since become a unique type of opera in Gansu.