Chapter 166

As expected, three days later Shi Liangdi successfully relied on her talent and acting skills to secure the role of Xi'er.

When Liu Xiaojun and the others saw that the contestant after removing makeup was actually the emperor's consort, Lady Shi, they were all shocked and performed a proper salute.

Yet they were troubled, wondering whether the emperor's lady would actually take part in a play.

Is that right?

Shi Liangdi seemed to sense everyone's worry, and she spoke gently: "Your Majesty knows about this, please rest assured, beloved officials—just carry out your duties; I will do my best to cooperate with your work, and I hope to play this role well."

Sister-in-law, we understand!

After a long while, Liu Xiaojun spoke, breaking the silence.

With Liu Xiaojun having spoken, everyone naturally relaxed a bit.

Thus Shi Liangdi and Liu Xiaojun worked in tandem, rehearsals proceeded in an orderly manner, and the entire production smoothly progressed.

Shi Liangdi threw herself into rehearsals with great joy.

However, difficulties came one after another; the first challenge was precisely grasping Xi'er's complex emotions.

In the early stages, Xi'er's innocence and cheerfulness; after suffering hardship, her despair, anger, and tenacious resistance—each emotion needed to be portrayed delicately.

Shi Liangdi often pondered alone in the rehearsal room, but once she entered formal rehearsals, her performance tended to feel stiff, making it hard to transition those emotions naturally.

The dance movements were also a major challenge.

In White-Haired Girl, the dance blends folk labor movements with stylized body language, requiring dancers not only to execute the moves correctly but also to imbue them with emotional depth.

Although Shi Liangdi was enthusiastic, lacking professional dance training, she could never perfectly execute some high-difficulty moves, which left her deeply discouraged.

Liu Ju naturally noticed Shi Liangdi's worries and came to visit her voluntarily.

Watching Shi Liangdi rehearse, his heart filled with pity.

Liu Ju well knew that Shi Liangdi's understanding of the role was not off; she merely lacked guidance.

Thus he gathered the troupe's veteran actors and dance teachers to give Shi Liangdi private coaching.

The veteran actors shared their insights on the role, starting from everyday details, to help Shi Liangdi better grasp Xi'er's state of mind.

The dance teacher, meanwhile, devised a specialized training plan for her movement issues, starting from basic motions and gradually correcting her posture and force application.

Liu Ju also personally joined the discussion, using his deep understanding of the script to analyze the turning points of Xi'er's emotions for Shi Liangdi.

He told Shi Liangdi: "After learning of her father's tragic death, Xi'er's despair at that moment should not be mere tears; it should first be a numb emptiness as if her soul had been drained, only then giving way to surging anger."

Shi Liangdi nodded eagerly.

Under Liu Ju's guidance, Shi Liangdi gradually found the feeling.

She began trying to find inspiration in daily life, observing the expressions and gestures of the poor, and incorporating those genuine emotions into her performance.

After arduous day-after-day training, Shi Liangdi's performance underwent a qualitative leap.

Her every gaze and movement on stage precisely conveyed Xi'er's emotions, and her dance became ever more fluid and natural.

The White-Haired Girl troupe, after lengthy meticulous rehearsals, finally welcomed its debut performance on stage.

The performance venue was decorated solemnly and simply, with modest sets that recreated the impoverished mountain village from the story.

The audience below, full of anticipation, whispered to each other, their eyes occasionally turning to the stage.

The curtain slowly rose, and the actor playing Yang Dalang stepped onto the stage with heavy footsteps; his weathered face and sorrowful expression instantly transported the audience into that oppressed world.

As the plot progressed, Shi Liangdi's Xi'er appeared, her clear voice singing of life's hardships, her lively eyes full of hope for the future; the audience's gaze followed her closely, the venue gradually fell silent, and everyone became immersed in the story.

When Xi'er was persecuted by Lu Batian and forced to flee into the mountains, Shi Liangdi portrayed her despair and defiance vividly; many in the audience had reddened eyes and let out soft sighs.

A peasant audience member couldn't help but whisper to his neighbor: "Isn't this just how we commoners used to live? It's performed too true to life!"

Throughout the performance, applause and cheers rose and fell; the audience was deeply moved by the characters' fates and gave high praise to the actors' performances.

However, after the show ended, conservative forces among the clans and officials raised different voices.

A group of richly dressed clan nobles gathered together, all wearing displeased expressions.

One elder furrowed his brow and snorted coldly: "What propriety is this play? It depicts our Great Han so darkly, nothing but scenes of poor commoners being bullied—is this not slandering the prosperous era of our Great Han?"

Another noble chimed in: "Exactly, it's all about trivial affairs of the lowly, utterly lacking refinement—it simply disgraces the dignity of our Great Han."

In the imperial court, some conservative officials also used this to raise objections.

An old official stepped forward, his expression solemn, and advised Liu Ju: "Your Majesty, although the play *The White-Haired Girl* has some talent, it spreads negative emotions, excessively displaying the people's suffering, which may disturb the populace and shake the foundations of our Great Han; I hope Your Majesty will order it banned."

But many officials opposed the view; Sima Qian stood up to rebut: "Gentlemen, your words are mistaken. This play truly reflects the people's hardships; it is precisely a reminder for us in the court to pay attention to the people's livelihood, which is for the long-term stability of our Great Han—what is wrong with that?"

Both sides held their own views, arguing without end; the play *The White-Haired Girl*, amidst praise and criticism, sparked widespread attention in Great Han society and prompted people to re‑examine the current social reality.

Liu Ju did not respond in person, but instead announced his withdrawal from court with a cold face.

The next day.

Under Liu Ju's demand, all the newspapers under Great Han Media published reports on the play *The White-Haired Girl* in prominent positions on their front pages.

Nearly every article vividly described the play's exciting plot, from the impoverished life of Yang Dalang's family, to the unjust fate suffered by Xier, to her tenacious resistance in the deep mountains, all presented lively before the readers' eyes.

The reports also specially praised the actors' outstanding performances, commending Shi Liangdi for portraying Xier's resilience and purity with lifelike depth, while the other characters were vivid and three‑dimensional, making the audience feel as if they were immersed in a world filled with hardship and struggle.

The fine illustrations accompanying the newspapers directly showcased the play's classic scenes, prompting readers to pass them around eagerly.

Liu Ju directly wrote in his commentary: "The play *The White-Haired Girl* is a mirror, reflecting many problems of our Great Han society today. The difficulties faced by Yang Dalang's family—land annexation, heavy corvée and miscellaneous taxes—are by no means isolated cases among the populace."

This warns us that the court must prioritize the people's livelihood, intensify the implementation of policies such as land reform, genuinely alleviate the people's suffering, and only then can we consolidate the foundations of our Great Han.

The emergence of this play presents an opportunity for us to see the people's true conditions more clearly and also motivates us to strive for a fairer, more prosperous Great Han.

In the court, officials once again gathered around *The White-Haired Girl* for a heated discussion.

Sima Qian stepped forward, his gaze firm, and said: "Your Majesty's words are quite correct. *The White-Haired Girl* truly reflects the people's suffering; it sounds the alarm in artistic form."

This is not merely a play; it is a force driving social reform. We officials should draw lessons from it and, within our respective duties, do our utmost to improve the people's livelihood.

Meanwhile, some conservative officials still wore uneasy expressions as before; one of them spoke cautiously: "Although the play has its merits, its excessive depiction of the people's darkness might provoke public unease and affect social stability, wouldn't it?"

As soon as those words were spoken, other officials immediately rebutted, one shouting: "If we ignore problems for fear that the people will learn the truth, that is the real danger. Only by confronting problems can we solve them; *The White-Haired Girl* is precisely the good medicine that lets us face reality."

Among the populace, people also discussed *The White-Haired Girl* extensively.

An old farmer who had weathered many hardships sighed and said: "This play is performed too realistically, just like acting out our own lives. I hope the government can truly do as His Majesty said, and think of more ways for us poor common folk."

And a young scholar excitedly said: "This play is of extraordinary significance; it lets more people notice social injustice, and perhaps it could push the court to make more policies beneficial to the people."

For a time, *White-Haired Girl* became the focus of heated discussion throughout the Great Han, and the reflections and debates it sparked spread like ripples across all social strata.