2. Mao privileged arts, performance and literary a great deal for his propagandist measures.  To reduce the domain of China’s Feudal Culture  To incorporate literature and the arts in the sphere of revolution  For artists to understand the ‘correct’ class stand- the proletariat  For any cultural medium to undergo the Marxist-Leninist education, and writers be not any exception

3. The Artists Struggling to find a class stand Belonging from intelligentsia Unable to stand for revolutionary workers Struggling with quality in terms of creating a mass style in their work

4. Text worked and re-worked to fit the new socialist agenda ruling the milieu prior to the 60s

5. Instructions for theatre circles  Scenes to be altered in order to classify the class struggles as the primary demarcation between characters  Method of polarisation was adopted further to highlight the enemy( Ruling class), versus the good ( working class)

6.  Moving from an aesthetic of form and technique towards reinvention of a more political and contemporary form  A complete dissolution of the established tone of the form of theatre  The loss of a musical theatre ‘listening theatre’ towards a spoken theatre

7.  Unification of the two  Love as an abstraction and popular theatre is no place for it  Rejection of the normalcy created by the artists over bourgeoisie subjects  For artists to work towards a popular production, for a more pedagogical agenda for the working class

8.  Will the creative then survive ?  Questioning creativity as an agency of the feudal propaganda  Hence, justified to destroy this method and form of creativity

9.  Not a complete rejection of the traditional aesthetics  To truly understand the nature and intent of traditional forms and to realise the need for a contemporary form, only to transform and actualise this intent as purely for the masses  Exercising equal strictness to maintaining the newly evolved revolutionary form at all cost

10.  The most important aspect would be the ideological stance of the play  The characterization would be fixed  Personalization of the techniques, almost as a break away in the established forms of theatre.