"I bought tickets for the Mayday Beijing concert on June 6 and booked a hotel in Beijing one month in advance. Recently, Song Yudeyi, who was ready to go from Wenzhou, Zhejiang Province to Beijing to watch the concert, said. During the epidemic, she and her friends have been "squatting" online concerts, and recently many singers have held offline concerts, and they have also "turned" to offline. After the strong return of offline concerts, are you still willing to watch the online concerts that have attracted much attention in the past two years?
Since the beginning of this year, the offline performance market has ushered in a comprehensive recovery. According to the data monitoring of the performance ticketing information collection platform of the China Performance Industry Association, more than 110.<> million tickets were sold for concerts and concerts in the first quarter. Some large-scale concert tickets have once again appeared "one ticket is difficult to find".
The popularity of offline concerts continues to soar, but online concerts are a bit deserted at the moment. Online concerts have also been sought after. In 2020, Mayday's "Suddenly I Want to See You" became the first phenomenal hit concert, attracting more than 3500 million people to watch online. Subsequently, Xicheng Boys, Jay Chou and other singing groups and singers set new highs in the form of online concert re-screenings, and many people's circle of friends was flooded by online concerts for a while.
"The visuals of the online concert are very good, the stage effects, the close-ups of the singers, etc. are very good. When I watch it, I will open the barrage, and I will have the feeling of interacting with netizens. Song Yudeyi said that during the epidemic, many live performances pressed the pause button, and she wanted to "go to the scene and feel the shock of the scene" more and more when she could only watch online performances, "Now that offline concerts are held, they may pay less attention to online."
"Offline performing arts have limitations such as venue, time, and price, and online can make up for their limitations and become a new form of more efficient and convenient performances. In the past three years, online performing arts have flourished, which has also prompted more fans to want to go to the scene to experience it for themselves. Professor Zhu Min, head of the Department of Art Management, School of Cultural Industry Management, Communication University of China, believes that online and offline performing arts will develop in parallel, complement each other, divert each other, and form a good interaction.
Talking about whether online concerts are still attractive, former Modern Sky publicity staff member Zhang Kesen said: "The experience that cannot be provided online is the biggest attraction of offline concerts, but this does not mean that online concerts have no room for development and will be completely replaced by offline concerts. In his opinion, if online concerts need to develop rapidly, they also need to continue to innovate models, plan and launch unique rights and new gameplay for online users, and promote online and offline linkage.
"In recent years, the development of cultural formats has been characterized by circleization, verticalization, refinement, etc., and users who like a specific performance method are gradually breaking down barriers and carrying out social activities between various circles." Zhu Min pointed out that online performing arts are in the ascendant, there is still commercial potential, and the profit model can be explored more. "Online and offline users are different and intersecting, and the application of artificial intelligence and other technologies will also bring fans more immersive experiences that were previously unimaginable." There is still room for development in the future online entertainment market. ”
(Daily Worker)