In today's Peking Opera circle, Wang Peiyu is also a character that must not be mentioned, she became famous at a young age, won almost all the awards in the Peking Opera industry before the age of 20, and is a veritable future star in the eyes of all Peking Opera masters.
The experience of early fame has made Wang Peiyu always have a high heart, and she dreamed of relying on the power of her hands to make Peking Opera return to the glory of the Republic of China period, so she resolutely resigned and began her entrepreneurial career.
It is a pity that the ideal is full, the reality of the bone, in just two years, Wang Peiyu lost all his savings, and finally returned to the Peking Opera system in ashes, and it turns out that until today, Wang Peiyu has not properly summarized and reflected on the lessons of this failure.
On the other hand, Guo Degang, after years of hard work, the Qilin Peking Opera Society has shown tenacious vitality, and the ticket price has begun to break through the thousand yuan mark, and it is difficult to find a ticket, which is in stark contrast to the depressed Peking Opera market.
So, why is Guo Degang thriving in the Peking Opera commercial performance market, while Wang Peiyu has always been applauded or not? The reason is very simple, there are great differences in the positioning of Peking Opera itself between the two.
Guo Degang adheres to the cognition in the cross-talk industry, believing that first of all, a sufficient number of audiences must like this art, and then talk about the problem of elegance and taste.
Therefore, in the performance of the Qilin Peking Opera Club, there are many senior Peking Opera fans who accuse this of cross-talk Peking Opera, or Peking Opera Cross-Talk. In the author's opinion, this positioning is precisely where Guo Degang is most successful.
Wang Peiyu has always understood Peking Opera as an art of high and low, and this kind of yangchun white snow positioning itself limits the threshold for the audience to like this art.
Although Wang Peiyu's level of Peking Opera is higher than that of Guo Degang, in the commercial performance market, it has become an embarrassing reality to applaud or not to be popular.
On October 3rd, Wang Peiyu performed Peking Opera commercially, presenting three major plays of "Hujiazhuang", "Zhong Kui Marrying Sister" and "Catching and Releasing Cao", with ticket prices ranging from 80 yuan to 580 yuan, and it is a pity that the audience's enthusiasm for ticket grabbing is not high.
Except for the cheapest two stalls, the others are quite difficult to sell out.
Deyun Society is not the case, seven days drum music commercial performance, tickets range from 188 to 1188, but the tickets are almost snatched up in a very short period of time, which shows the market influence of Deyun Society.
In this fight between Wang Peiyu and Guo Degang, from the ticket price to the attendance rate, there is a gap like a gap. For Wang Peiyu, there is no need to always hold the shelf, the key to revitalizing Peking Opera is to first have a sufficient number of audiences, and Yangchun Baixue is precisely the most unsuccessful choice path.