中國大陸1960年之後展開關於戲曲工作的「推陳出新」論爭中，張庚和郭漢城一方最終修正了他們在1956至1957年「雙百運動」期間為傳統戲曲劇目解套的種種偏離官方意識形態的言論，接受了批判者的意見，否定了兩人之前批評戲曲工作中教條主義的觀點，並轉而認同激進戲改的路線。首先可注意到其爭辯集中於傳統戲曲劇目的道德問題，簡言之即「封建道德是否具有人民性」的問題，張郭二人遭批評「缺乏階級分析」、「誇大人民性的範圍和意義」。其次觀察此論爭的發展脈絡，可如此解釋：「雙百運動」時期張郭等戲曲界高層將重心放在傳統劇目的推陳出新，使整編後的戲曲滿足寬鬆的「社會主義現實主義」要求即可；「推陳出新」論爭之後，張郭等人體認到，傳統戲經過整理改編後，其內容即使具有人民性，仍然不能表現「現代精神」，解決之道唯有發展戲曲現代戲。換言之，當時政治的要求已逐漸升級至反映「現代生活的現實」，要求直接為社會主義革命和社會主義建設服務。

In mainland China, after the 1960s Controversy over ＂Innovation＂ on xiqu work, Zhang Geng and Guo Han-cheng finally corrected their departure from official ideology during the ＂Double Hundred Movement＂ from 1956 to 1957. They accepted the critics' opinions, denied their previous criticisms of dogmatism in xiqu work, and agreed with the radical reform line. First of all, it can be noticed that the controversy focuses on the moral issues of traditional xiqu repertoire, in short, the question of whether feudal morals have an affinity to the people. Zhang and Guo was criticized for ＂lacking class analysis＂ and ＂exaggerating the scope and significance of affinity to the people.＂ Secondly, observing the development context of this controversy could be explained as follows: During the ＂Double Hundred Movement＂, the senior members of the xiqu circle, such as Zhang and Guo, focused on the reinvention of traditional plays, so that the reorganized xiqu can meet the relaxed ＂socialist realism＂ requirements. After the Controversy over ＂Innovation＂, Zhang and Guo understood that after the traditional xiqu were rearranged and adapted, their contents could not express the ＂modern spirit＂ even if they were close to the people. The only solution was to develop modern plays of xiqu. In other words, the requirements of politics at that time had gradually escalated to reflect the ＂reality of modern life＂ and required to serve the socialist revolution and socialist construction directly.