中国京剧院演出的《白毛女》,证明着有着悠久传统的京剧是可以用来表现现代生活题材的,而且可以表现得很好。京剧院的《白毛女》,無論在唱腔、唱法、动作、舞蹈等方面都有大胆的發揮与創造。譬如:杨白劳与喜兒扎头绳时的那一段对唱,原来在歌剧中是非常精彩的,是給人印象很深的,要想改变人們旣成的印象是不太容易的;可是经过李少春和杜近芳用西皮快板唱出来。就很能表現当时父女二人的心情。他們一方面在唱腔上稍稍加了一些改变,又加之他們在唱法上着重于体现父女二人当时的心情与愿望,因此是唱得动听而又感人的。又如:杜近芳演喜兒,当她从黄世仁家跑出后,在河边上唱的“我要活”那一段,借用了一些 The “White-Haired Girl” who performed at the Peking Opera Theater proves that a long tradition of Peking Opera can be used to express the theme of modern life and it can perform well. The “White-Haired Girl” of the Beijing Opera Theater has boldly played and created both singing, singing, acting and dancing. For example, when Yang Bailao and Xi Er cut their heads, the duet that was originally performed in the opera was very impressive. It is not easy to change people’s impression. However, after Li Shaochun and Du Jinfang Sing with Sipi Allegro. It is able to show the feelings of father and daughter at the time. On the one hand, they added a little change to their compositions and, together with their emphasis on singing, reflected the feelings and aspirations of their father and daughter at that time, they sang beautiful and touching. Another example: Du Jinfang played the joy of children, when she ran out from Huang Shiren home, singing in the river “I want to live” that period, borrowed some