Between 1961 and 1966, Jiang Qing (Mao's wife at the time) reformed the theatre life in China. Her aim was to purge the theatre of all feudalistic elements. The first results of the reforms were five "model operas": Raise the red lantern, Taking Tiger Mountain by strategy, On the docks, Shajiabang and The White Tiger Regiment.

Later more models were added: three operas: Song of the Dragon River, Azalea Mountain and Fighting on the Open Plains, two ballets: The Red Detachment of Women, The White-Haired Girl and the music for the opera Shajiabang.

Each of these theatrical productions was able to stand as an independent entity linked to the other model productions to form a complete system in order to reflect the entire process of revolutionary history as it was shaped by the Communist Party.

All the productions had as their main figures proletarian heroes and heroines. The portrayal of these figures had echoes of Mao's personality cult. Always became clear that it was Mao who provided them with the attributes to be a hero or heroine, such as strength, wisdom and so on.

In the productions, the principle of three prominences was applied : all characters had to give prominence to positive figures; all positive figures had to give prominence to the principal hero or heroines; all heroes and heroines had to give prominence to the principal hero or heroine. The main task of these theatrical productions was to create big and perfect heroes and heroines based on the principle of combining revolutionary realism with revolutionary romanticism.