"That challenge was a turning point," recalls Li. "He made it clear that Peking Opera wasn't just about artistic achievement on stage, it also depended on attracting audiences and selling tickets."

Her first major directing opportunity came in 2013 with Yan Xijiao, a 70-minute Peking Opera production based on the classic Chinese novel, The Water Margin (Outlaws of the Marsh). The opera was a departure from large-scale, high-budget shows, focusing on smaller theaters with a simpler plot and fewer performers. It proved to be a hit, especially among younger audiences, and was staged more than 60 times nationwide.

"People my age and younger could relate to Yan Xijiao because it spoke to their emotions," Li, 39, says. "The creative team was mostly born in the 1980s and 90s, as were the audiences. We shared a similar sense of what was important in a story."

Li's journey from student to acclaimed director has been as unconventional as the productions she directs. Her chic, modern aesthetic, coupled with her bold approach to opera, has won her fans across generations. She gained popularity on social media, where her behind-the-scenes glimpses and thoughtful reflections on art drew thousands of followers, particularly young people.

Her approach to traditional Chinese opera has also sparked diverse opinions. Some traditionalists applaud her efforts to keep the art form relevant by blending modern elements with classical techniques, arguing that her innovative methods bring new energy and attract younger audiences. However, others believe her emphasis on multimedia and contemporary visuals compromises the purity of the traditional style.

Li's goal is clear — she wants audiences to experience the beauty of traditional Chinese opera, first and foremost. She hopes to spark curiosity and appreciation for the art form.

"I'm not trying to erase tradition," she says. "I'm trying to make it speak the language of today's audience. Young people connect with emotional stories, and that's what traditional Chinese opera has always been about. It's a universal experience. I want to show them that traditional Chinese opera can be exciting, relevant and meaningful."