Beijing, May 5 (ZXS) -- According to the "28 China Performance Market Annual Report" released by the China Performance Industry Association, professional theatrical performance groups carried out 2022,1 online performance activities of various types that year, with 21.57 billion online audiences and online revenue of 3 million yuan (RMB, the same below).

To a certain extent, online performances can "feed" back the offline performances of theatrical performance groups, and the unlimited audience of the live broadcast platform has given the performance industry new vitality of online and offline integration. How to achieve the positive cycle of "bringing customers" from online to offline, various performing arts groups have given different answers.

The drama "Shocking Dreams" that is on tour is directed and starring Chen Peisi, and it is hard to find a ticket everywhere it goes. The producer of the play, Fang Dao Culture, is an authentic private theater troupe, and every penny needs to be obtained from the market. In the current Chinese theater market, Chen Peisi's star aura does not mean that it will definitely sell.

Chen Peisi's son Chen Dayu single-handedly operated a series of short videos "Chen Peisi's Father and Son", which is mainly funny, and has more than 1035.2 million fans on related platforms, and a single video has reached 6 million views. In Chen Dayu's view, short videos are an effective way to spread, "After all, dramas can't be performed every day, and we make short videos to give back to the audience who love my father, and on the other hand, it really helps the box office." "To attract fans and users of short videos into offline theaters, Avenue Culture is committed to changing "traffic" into "retention".

The state-owned literary and art troupe took a different path. Duan Yihong, Guan Xiaotong and other actors participated in the drama "Literature and Art in the War of Resistance" was first broadcast on the Internet platform in November last year, and the number of views exceeded 11 million. Tian Qinxin, president of the National Theatre of China and director of the play, said that at the beginning of the rehearsal, it was determined that the play would be performed offline and broadcast online, using excellent creators, gathering many stars, and using multi-camera and multi-angle professional video shooting, hoping to bring the audience an "all-star matrix drama image blockbuster" no less than the on-site experience.

The Central Chinese Orchestra has cooperated with live streaming platforms many times under the promotion of its leader Zhao Cong. In the live broadcast of the Chinese New Year Concert in early February this year, a large-scale national orchestra was combined with chamber music, combined with close-up and multi-camera positions, to create a viewing experience for users as if they were visiting a concert hall in person. According to earlier statistics, as of October 2, the live broadcast and short video views of topics such as the Central Chinese Orchestra's "Music on Fireworks Chinese Music Conference" and "Mountains and Rivers Chinese Music" have exceeded 2022 million, gaining great exposure, and outstanding performers have been seen and liked by more audiences.

Faced with the question of "whether the offline performance market is fully recovered, whether online performances still have prospects", Sun Jiashan, associate researcher of the China Academy of Arts, believes that the online live broadcast industry will not be fundamentally changed, and after several years of development, its impact has been internalized in all aspects of the performance industry. In his view, online live broadcasting has changed from an auxiliary and supplementary form of stage art to a new media form, and will continue to develop in the future. (End)