Press: Recently, the China Opera Society held a seminar on "New Opportunities for the Development of Opera - Opera Stage in live broadcast rooms", inviting a number of opera performing artists, heads of theaters and troupes, and opera researchers to discuss how traditional opera can seize new opportunities under the support of new network technology, meet new challenges, better promote the new growth of young opera talents, and promote the formation of a new paradigm for the healthy and effective dissemination of opera. The speeches of the meeting are hereby selected for publication.
Network propagation requires a benign guidance mechanism
WANG Kui (Director and Researcher, Institute of Chinese Opera, China Academy of Arts, President of China Xiqu Society)
The stage and theater are an important foundation for the dissemination of opera performances, and the core of opera is the performing arts in stage theaters. In the special epidemic environment, Xiqu needs more diversified platforms and spaces to fully highlight the artistic personality of the stage. With the disappearance of the epidemic and the return of opera to traditional theater performances, although the new network format cannot replace the traditional ecology of opera, it can still be used as a platform focusing on cultural promotion and publicity, which is not contrary to the traditional ecology, and even promotes the sublimation of the traditional ecology of opera. However, the new network format may also have an impact on the traditional opera ecology, which will drown the real opera art in an entertaining environment. The form of opera promotion characterized by individual singing and rewards that appears in the online live broadcast shows the appreciation and support of the online audience for the opera people, so that the opera can obtain the recognition of behavior with economic value, but it may also reduce the professional dignity that the opera has long been committed to. How to obtain economic benefits from high-quality art resources in the network requires a reasonable payment mechanism and a benign guidance mechanism. Only by fully taking into account the artistic laws and cultural qualities of opera can we truly insert art into the wings of technology and make cyberspace an artistic space with a clean atmosphere.
Star-making and fan cultivation are worth trying
Fan Guobin (Vice President of China Opera Society, General Manager of China Recording Group)
Live streaming of opera has created a new type of relationship between opera actors and audiences, that is, the relationship between stars and fans. Different from the relationship between horns and fans in the traditional era, the stickiness and intimacy between opera stars and fans in the short video era have greatly increased. Because live broadcasting has the characteristics of image dissemination and instant viewing, it shapes the pleasure of instant communication of users. Through bullet screens, comments, likes and retweets, there is more intimacy and connection between opera anchors and fans. In the live broadcast, the opera anchors went beyond the original communication method of stage performance, not only showing the art of opera itself, but also telling the experience of art, popularizing the knowledge of opera, and explaining the doorway in opera. This kind of interaction that exposes the "back area" of the stars allows opera fans to form more loyalty to opera stars and opera art in the process of chasing stars. Every cultural industry ultimately needs idols. Although the star-making and fan cultivation of short video opera live broadcasting is not the only way out for the dissemination of opera art, it can at least be regarded as a new contemporary form of combining opera art communication with new media, which is worth trying and encouraging.
Live broadcasting is only a means of promotion is the key
Shen Tiemei (Deputy to the National People's Congress, Vice Chairman of the Chinese Drama Association, Chairman of the Chongqing Municipal Federation of Literature and Literature, President of chongqing Chuan Theater)
The rise and development of new media such as Douyin has built a bridge of communication between opera art and public life. If the live broadcast of opera art wants to "break the circle, go out of the circle, melt the circle, and build the circle", and then attract the audience, retain the audience, and strengthen the audience, it is very important to do a good job in the pre-publicity and warm-up of the live broadcast. First, from the essence of live broadcasting, the topic is the foundation of information dissemination. Creating a good topic can make a live broadcast do more with less. Second, regarding the cultivation and guidance of the target audience, on the one hand, it can be channeled through vibrato, and on the other hand, it can be shared by the audience, such as the audience of Sichuan opera and Yu opera, and it is likely to become a potential audience of other dramas. Third, live broadcasting requires anatomical explanation. Before the live broadcast, the performance program and main features of the opera can be made into a propaganda video for talking about the art appreciation drama, and interpreted in a way that young people like. Fourth, cultivate a group of opera promotion anchors, effectively convey the fascinating points of various dramas to the audience, and tell the "stories" of opera well.
Continuously expand the dissemination of quality content
Zeng Xiaomin (Deputy to the National People's Congress, President of Guangdong Cantonese Theatre)
I have noticed that some young people who are usually not very conspicuous talk and laugh in the live broadcast room, singing and communicating freely and flexibly, surprised and happy; at the same time, there is also a lack of good content dissemination, anchors are too concerned about being concerned and asking for tips, which may cause network communication to be deformed and flavorful, which is what I am worried about. Regarding the use of live broadcasting to open up new audiences, we need to carefully plan programs with high-quality concepts, especially the live broadcast of professional theater groups, which must be rehearsed and rehearsed many times before they can be launched, and we also need to get support in meeting multi-platform push and increasing viewing rates through push streaming. Opera content creators and live broadcast platforms should work together to create more high-quality programs. Regarding live broadcast tipping, this is the exclusive characteristics and game rules of Douyin live broadcasting, and it is also the form of income generation for Douyin content creators, but how to maintain cultural style, how to reward and interact gracefully and without stereotypes, I suggest giving thinking in this regard and gradually optimizing.
Theater, network "walking on two legs"
Mao Shanyu (Member of the National Committee of the Chinese People's Political Consultative Conference, President of Shanghai Shanghai Theatre)
To make good use of the network position, there are two points of attention: First, production cannot be shoddily made. The self-media anchor may be both an actor and a speaker, so it is necessary to make full preparations before the start of the broadcast, to speak clearly and clearly, and to make people who are in contact with opera for the first time feel good through the main lecture and interpretation, and have the desire to have a deep understanding. Second, you can't cater to traffic without a bottom line. It is necessary to disseminate healthy and high-quality content, rather than using vulgar and kitsch language to blindly increase traffic and tip, so as to go to the other side.
Webcasting is no substitute for stage performances
Li Guilian (Member of the National Committee of the Chinese People's Political Consultative Conference, Artistic Director of Shanxi Jin Theater)
Online performances, online lectures, and live broadcast rooms explain the knowledge of opera art, so that more and more audiences can better understand and like the ancient art of opera. The Q&A, applause, praise and attention on the live broadcast platform reflect the close communication between the opera artist and the audience. Cloud live broadcasting in the era of self-media has made the dissemination of opera art have a wider space, but at the same time, we must also see that this can never replace stage performance. Our original intention is to channel the circled fans and the old iron that pays attention to us into the theater, and spread it through the efforts of the opera people, so that more audiences can enter the theater and watch our performances. This is the responsibility of each opera artist after the live broadcast, and it is also the responsibility that should be fulfilled for the opera.
Bring audiences into the theater through network traffic
Chen Cheng (Deputy to the National People's Congress, Vice Chairman of Jiangsu Dramatists Association, Actor of Jiangsu Huai Opera Troupe)
In recent years, I have actively tried to introduce more network traffic from Huai Opera into the theater, and I have received good results. In view of the inheritance and development of opera in the era of live broadcasting, I would like to make several suggestions: First, live broadcast platforms such as Douyin should increase cooperation with well-known artists and provide traffic support for famous live broadcasts as much as possible, so that such live broadcasts have greater exposure. Second, opera artists actively carry out online live broadcasting, and harvest new young audiences while sticking to old opera fans. For the official live broadcast of the group, you can give a push code and actively guide the push of high-quality live broadcast of the big drama; you can explore the setting of electronic tickets, so that artists can pay with dignity. Third, explore the small theater mode. As a lightweight performance carrier, while meeting the epidemic prevention and control, the small theater can make the opera benefit the people and more close to the market, so that the audience can develop the consumption habit of buying tickets and watching the theater independently.
Live opera needs to be well planned for content
Fu Liyun (Deputy to the People's Congress of Fujian Province, Former Head of fujian Lisheng Troupe)
Actors from puxian opera's folk professional theater troupe, in order to support their families, began to broadcast live on platforms including Douyin. They sing Puxian opera at home, and their source of income is mainly based on the tips of fans. However, the level of performance is uneven, and some live broadcasts may mislead the audience and confuse the artistic quality of opera art. Opera should be promoted through live broadcast platforms, but do not deviate from the artistic characteristics of your own drama. As professional theater actors, we should have systematic planning, such as how to screen good scripts, how to promote the artistic characteristics of this kind of drama, and how to display the specific music and performance of the play. At the same time, it is also necessary to hire a professional team to promote, deepen the audience's understanding of the drama, and achieve the purpose of expanding publicity.
Creating the "Second Theater" of Opera Art
Ling Ke (Dalian Peking Opera House Actor)
New media has become one of the important platforms for young audiences to understand, learn and disseminate peking opera art. From registering a Douyin account in 2020 to the present, I have also determined my own style in the process of practice and exploration, and accumulated 660,000 fans. First of all, in the live broadcast content, from "hanging voice practice" to "Lian Mai teaching singing", I have been making new attempts. Secondly, in terms of short video content, I always adhere to the dignity of the industry and ensure that the output content is valuable. Of course, there are also many difficult problems during this period, including how to balance the entire team, how to translate idealized ideas into reality, and how to lead the audience instead of blindly pandering to the audience when facing the needs of fans at different levels. Professional actors may also have to face the online "second theater" while facing the theater, what we have to do is to treat every live broadcast and every short video strictly, show the real national essence art to the audience in front of the mobile phone, attract more young people to enter the theater, and feel the charm of Peking Opera art on the spot.
Grasp the special requirements of online media
Han Pengfei (Deputy to the People's Congress of Handan City, Young Actor of Handan Dongfeng Opera Troupe)
To make traditional opera shine in the new media era, it is necessary to grasp the special requirements of online media. First, take the initiative and boldly find new communication channels, use the attributes of new media, actively diversify the dissemination of opera, and ultimately realize the ability to pull online audiences into the theater. Second, revere the small screen and adhere to the correct and high-quality information output. The new media platform can exercise the skills of the actors and see the feedback of the audience as quickly and directly as possible. Therefore, by explaining the characteristics of the singing voice, sharing the acting experience, analyzing the emotions of the characters, etc., we can cultivate the audience's viewing habits, tap the potential audience of the opera, and avoid the low-quality dissemination of sensationalism. Third, stick to the old position and create a diversified and common prosperity of the opera matrix. I hope that Douyin can give the opera UP owner an official certification, so that everyone can have a degree of recognition when brushing Vibrato, and may stay here for a longer time. It is hoped that the high-flow UP master can link the small-flow UP master, and the large-scale drama UP mainly drives the small drama up-master, learns and promotes each other, and realizes the grand scene of common prosperity of multiple dramas in the country.
Helping opera actors open up the "second stage"
Dai Hongbo (Head of Douyin Live Opera Operation)
The traditional opera industry has presented a new scene through live broadcasting. At present, Douyin has launched 231 opera dramas, covering almost 66.4% of the existing opera dramas in the country. In the past year, the number of live opera broadcasts exceeded 800,000, with an average of more than 3,200 viewers per game; 73.6% of the dramas received live broadcast revenue, and some endangered dramas were also among them. Recently, Douyin Live officially launched the "DOU has good drama" plan, which will help the opera industry from three aspects: optimize product capabilities, open more abundant live broadcast functions for professional actors and theater groups, and create an online and offline integrated performance experience; the first phase invested over 100 million traffic resources to launch operational activities such as "DOU to sing good drama" to solve the problem of insufficient exposure of opera anchors; jointly create a "famous actor DOU to sing" column with famous opera artists, and jointly create online programs such as ace opera IP "Liyuan Spring" to jointly promote opera art. Douyin hopes to help at least 10 theater groups and 1,000 professional opera actors build an online second theater in the next year. Relevant support policies will also be tilted towards endangered opera genres.