解放后的武汉市,虽然还带着“八年抗战”和“三年劫收”的创痕.但是“只有共产党才能救中国”的信念,已经在广大人民心中生根开花,人人精神振奋,感到有了信心,有了前途。我战后返乡时想重登舞台而又走投无路的忧伤情绪,也随之一扫而空,我也感到得救了。经过五十年代初期义务演出的尝试,我有了信心,很快就参加了刚刚成立的武汉市汉剧团。当时除了演些《玉堂春》、《四郎探母》之类的传统剧目之外,还排演过《牛郎织女》一类的新戏,但这一阶段并没有什么进展。直到一九五二年夏天举行中南区戏曲观摩演出大会时,崔嵬同志担任了《宇宙锋》的导演, After the liberation of Wuhan City, although with the “eight years of resistance” and “three years of robbery” wounds, the belief that “only the Communist Party can save China” has already taken root and blossom in the hearts of the broad masses of the people, Have confidence, have a future. When I returned home after the war, I wanted to go back to the stage and my desperate sadness swept away. I also felt saved. After the voluntary performance of the fifties, I was confident that I soon joined the Wuhan Opera Troupe in Wuhan. At that time, besides rehearsing the traditional repertoire such as “Yutang Chun” and “Si Lang Tan Mu”, they rehearsed the new play “Cowherd and Weaver”, but there was not any progress at this stage. Until the Central South District Opera Performance Performance Conference was held in the summer of 1952, Comrade Cui Yong acted as the director of “Cosmic Front”