During the Wanli period of the Ming Dynasty, Zheng Zhizhen, a native of Qingxi, Qimen, Anhui, wrote the "Newly Compiled Drama of Mulian Saving His Mother and Persuading People to Do Good" based on past dramas, transformation texts and legends. Once the Zheng version of Mulian Opera was created, it became widely circulated in Qimen, Xiuning, Shitai, Wuyuan, Shexian and other places. Qimen Mulian Opera originally had no fixed performance venue. It was played with drums and gongs and cymbals, without strings. Suona was used when celebrating birthdays. Its basic singing style was simple and ancient, which was the "Hui Chi Ya Diao" popular in Huizhou in the middle of the Ming Dynasty, namely Huizhou Diao and Qingyang Diao, retaining the characteristics of "rolling tune". The roles are divided into Sheng, Dan, Mo, Jing, Za, Jin, and the facial makeup includes ghost face, standard face, painted face, etc. The performance absorbed some skills of folk martial arts and juggling, such as walking on a tightrope, jumping through hoops, running through fire, running through swords, stepping on tables, rolling and hitting, etc. These performance stunts were cleverly integrated into the plot and became special moves for performing martial arts, laying the foundation for the martial arts performances of the later Huiban. Most of the performance troupes were organized by clans, that is, a troupe was composed of people of the same clan and clan, and outsiders were not allowed to join. There are two forms of Mulian Opera performance: one is the direct performance of the actor, which is called "Da Mulian"; the other is the actor singing with puppets, which is called "Tuo Mulian". Generally, it is prosperous in spring and autumn, and there are "Daowang Opera" (autumn harvest), "Tanghui Opera" (held by the public hall, every five or ten years), "Temple Fair Opera" (to Jiuhua Mountain), Ping'an Opera, Incense Opera (fulfilling vows) and other titles. The performance time varies from one, four, seven, or ten days.