Follow | The latest guide of the Ministry of Culture and Tourism has been released! Will the performance and entertainment industry live through the winter to welcome the spring?

On Nov 18, the Ministry of Culture and Tourism issued several epidemic prevention and control guidelines, including the Guidelines for the Prevention and Control of COVID-19 in Travel Agencies (Fifth Edition), which put forward requirements for epidemic prevention and control in travel agencies, Internet service business places, entertainment places, theaters and other performance places, script entertainment business places and other places. Key points as follows:

1) Travel agencies should strictly implement local prevention and control requirements, reasonably determine the number of teams, and advocate small-scale tourism teams.

2) In areas where there is no epidemic situation, in principle, there is no limit on the proportion of the number of consumers received by theaters and other performance venues. And in principle, there is no limit on the number of audience for large-scale commercial performance activities such as concerts, music festivals and scene tourism performances.

3) Internet service places, entertainment places and script entertainment business places shall not be closed at will, and those meeting the conditions for unsealing shall be unsealed in a timely manner.

Among them, the most inspiring thing for performance industry practitioners is: # The Ministry of Culture and Tourism requires that entertainment venues can not be closed at will #, # In principle, there is no special limit on the number of concert people in epidemic free areas #, which may mean that the performance industry will break through the ice and usher in a new dawn.

1. The status quo of the performance industry is unclear, and the guide gives performance industry a boost of motivation.

"It's really hard to do or watch a show!" This is not only the sad complaint from the audience, but also the lamentation of countless performers.

The epidemic at the beginning of 2020 gave a blow to the performance industry with good development momentum, and the offline performance industry was almost destroyed. In the past three years, the epidemic control has become normal, and the performance industry is also thinking about changes in the face of danger, actively exploring ways to break the situation.

According to statistics, in 2021, there will be a total of 189,700 performances of major performance types (excluding rural performances and entertainment performances), an increase of 248.07% over the previous year; In 2021, the overall economic scale of China's performance market will be 33.585 billion yuan, an increase of 27.76% over 2020, when the epidemic situation is more severe.

However, when the performance market was on the rise, local epidemics and extreme weather phenomena occurred in many places in succession. In most regions of China, theater facilities were shut down, performances were canceled and postponed to varying degrees. The future of the performance industry has become a difficult problem for the performance industry practitioners to think about day and night.

This guide of the Ministry of Culture and Tourism, which is related to performances, theaters and tourism, undoubtedly relieves the "tight spell" on the performance industry to a certain extent. So can such an open policy really revive the performance industry? What strategies should the performance industry adopt?

2. Risks and opportunities coexist, and the grand performance is just around the corner.

Although there are many risks in the performance industry, there are also unprecedented opportunities. The introduction of overseas plays and concerts is limited, and the track for the rise of domestic performances is wider, which is an excellent breakthrough period. The audience still has a strong demand for offline performances. They are always eager to pursue the goals of major music festivals, concerts and high-quality plays. The latest guidelines of the Ministry of Culture and Tourism have "loosened" the restrictions on the number of performances and the number of people. We are looking forward to the restart of the suspended projects and the grand occasion of the nationwide performances.

Of course, the current epidemic situation fluctuates, and the operational risks of offline cultural performances cannot be ignored. The integration of online and offline channels is still favored by performers. Through short video and other social platforms, we can get access to the unique scenes built by offline customized trusses, experience the feast brought by colorful lighting dance, exquisite and shocking sound effects, and dazzling high-definition large screen, and feel that actors, singers and dancers present a wonderful performance on high-quality stage. The richness of "cloud" performance also confirms the various possibilities for the performance industry to expand online.

One of SHINESTAGE's major projects this year, the Qingdao Golden Beach Beer Festival, is a good example. The 32nd Qingdao International Beer Festival (Cloud Beer Festival) was held online from July 22 to 31, setting an innovative benchmark for the digital festival of cultural and tourism industry performances. Online wonderful presentation, offline global linkage, and public participation and sharing bring the "exclusive flavor" of the city to every corner, so that the gathering will never close.

Offline performance can not only catch the short video express lane, but also radiate new opportunities through cross circle cooperation. Stage plays are staged in the scenic area, reality shows are held in Beijing Opera, and musicals enter the variety show area. Although they are different formats, they also have common goals. They can try to integrate resources, lead new needs, form new models, and explore new opportunities. Whether it is based on the feedback of online performance audience, re polish the content and then feed back offline, or first expand the stage performance influence through the Internet effect to drive more audience to participate in offline performance, it is not difficult to see that the virtuous circle of mutual promotion and common progress between online and offline is expanding more possibilities for dance art creation and communication.

3. Performance industry practitioners have been working hard and never give up

In the past three years, the performance industry has not been depressed after being hit hard. We have never thought of giving up and have been trying to find a new way of transformation. The guide of the Ministry of Culture and Tourism has played a significant role in boosting confidence. I believe that the performance industry will eventually pass this exam and write a vivid footnote for the brilliant show!

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