民間傳說《白毛仙姑》為散文敘事，1930年代流傳於冀北地區，經中共於抗戰末期改編為歌劇《白毛女》，並以此為國共內戰期間，提升共軍精神戰力及動員群眾，協力戰事進行的良方之一。民間傳說《白毛仙姑》除轉換為歌劇《白毛女》，更在諸如電影、京劇、芭蕾舞劇等不同的劇型中出現，其中情節雖略有不同，故事軸線則統一，主要闡明「舊社會把人變成鬼，新社會把鬼變成人。」而芭蕾舞劇《白毛女》則更彰顯了「以階級鬥爭為綱」的政治標準。一個民間傳說《白毛仙姑》，在不同時期的改編，彰顯了中共在不同環境與形勢下的藝文觀點。而中共藉《白毛女》在不同形式的藝術展演中，總是收穫滿滿。因而本文旨在探討以民間傳說《白毛仙姑》演化成歌劇《白毛女》，與中國左翼作家聯盟、延安魯迅藝術學院及毛澤東《延安文藝座談會上的講話》三者有無關聯？三者對歌劇《白毛女》的創作形成何種影響？《白毛女》從歌劇到電影、經戲曲到芭雷舞劇，在運用上又有何得失？
The narrative legend ＂The White-haired Fairy＂ was circulating in the border region of Shanxi, Chahar and Hebei in 1930's. Chinese Communist Party (CCP) adapted the story for opera ＂The White-haired Girl＂ at the end of the World War II. During the civil war, CCP successfully took advantage of the opera to promote their morale and effectively to mobilize their troops. Besides opera, ＂The White-haired Fairy＂ has also been adapted for movies, Chinese opera, and ballet opera, etc. Although the plots are slightly different, the main part is still been hold. The whole story clarifies that the old society turned human into ghosts, yet, the new society turned ghost into human. The ballet opera ＂The White-haired Girl＂ especially highlights CCP's guiding principles of so-called ＂class struggle.＂ Those adaptations from different times also represent CCP's view point of the art under varied environments and situations. Moreover, through those different forms of performances, CCP always reaped the harvest. This article aims at the research of following questions: Over the adaptation, is there any connection among Chinese Left-Wing Writers Union, Lu Xun Art Institute and the speech Mao Zedong gave on a forum Yan'an Art Institute? What are the impacts caused by the opera? And what are the gains and looses from the performances from the opera to the movies, to the dance drama and to the ballet?
