北京京剧固演出的《芦荡火种》曾受到观众的欢迎。但剧团并不以此为满足。在中央和北京市委有关负责同志的关怀和帮助下,他们反复地学习了毛主席著作,观摩了中国京剧院一团演出的《红灯记》,学习、讨论了徐寅生的《关于如何打乒乓球》的讲话,又普遍听取群众意见,运用一分为二的唯物辩证法观点,对《芦荡火种》剧本和演出,重新进行了分析,找出了缺陷和不足,并克服了有些人的骄傲自满情绪,由‘为谁打球’联系到‘为谁演戏’,树立了为革命而演戏的思想。思想革命带动了艺术革命。这样,从《芦荡火种》到《沙家 Beijing Peking Opera staged the “reed fire” has been welcomed by the audience. But the theater is not satisfied with it. With the care and help of the responsible comrades of the Central Government and Beijing Municipal Party Committee, they repeatedly studied Chairman Mao’s works and watched the “Red Lantern” performed by a delegation from the Peking Opera Theater. They studied and discussed Xu’s “ Ball ”speech, and generally hears the opinions of the masses. By using the dichotomy of materialist dialectics, he has re-analyzed the scripts and performances of“ Rendang Fire ”and identified defects and deficiencies and overcame the arrogance and pride of some people Emotions, played by whom to play for whom, for whom to play, set the thought of acting for the revolution. Revolutionary revolution led the revolution in art. In this way, from “reluctant to fire” to "Sha home