In the early Qing Dynasty, Li Yu proposed in Occasional Notes with Leisure Motions that "changing the tune means changing the old tune into a new one. Change brings freshness, while unchanged leads to staleness; change brings vitality, while unchanged results in rigidity^[1]". Its core emphasizes that artistic creation should not be rigidly constrained by ancient methods, but should innovate on the basis of inheritance, endowing tradition with contemporary vitality^[2]. Six hundred years later, Three Times' Beating the White Bone Demon created by the Zhejiang Wu Opera Art Research Institute, with its creative transformation of the classic masterpiece, confirms the contemporary value of this aesthetic proposition^[3]. This paper puts forward the core concept of "local reconstruction", and holds that the success of the play is not a simple formal innovation, but a systematic aesthetic reconstruction of Journey to the West based on the artistic characteristics of Wu Opera itself.