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A clown, an apple, and 6 million likes: Chinese acrobatics finds a new generation_我的网站

A |           　　第十六届中国国际数字博览会将于8月27日至29日在济南举行，大会以“数创未来　智启新程”为主题，突出数智化、国际化、特色化办展方向。    

    Acrobat Bing Bing backstage at a scenic spot in Beijing Photo: Courtesy of Bing BingAt an amusement park in Beijing, a young female clown tossed an apple into the air several times, catching it each time and taking bites out of it along the way. The seemingly simple routine delighted visitors, many of whom pulled out their phones to film it. Videos of the act have garnered more than 6 million likes on Douyin, China's version of TikTok.
Bing Bing, a young acrobat born in the 2000s, told the Global Times that she first tested the "tossing and eating an apple" routine through short videos before taking it to the stage. After her first performance, she spent the holidays performing it, adjusting the movements and pacing based on how audiences responded.
"Performance is the hardest thing to master. Your facial expressions and body movements have to convey to the audience what you are doing and what you want to do," she said. "The goal is to make them know that you are performing, yet still find it entertaining."
According to Bing Bing, the training behind such performances is far less glamorous than the finished act suggests. "Training is very repetitive. You fail, repeat, fail again, succeed and then fail again," she said. "Practice is what turns quantity into quality, even facial expressions and body movements require deliberate practice." 
For Bing Bing, however, mastering the routine is only one part of the job. Once performers step in front of an audience, the carefully rehearsed movements have to adapt to a live and unpredictable setting.
Beyond the theater
In recent years, acrobatic performances have increasingly moved into aquariums, theme parks and cultural tourism venues, where audiences themselves become part of the performance rather than simply watching from fixed seats.
Bing Bing previously performed alongside other clowns at an aquarium, inviting visitors to participate in the act. She said the difference is not merely a change of venue: performers have to constantly interact with the people in front of them.
"Traditional stages are farther away from the audience and are better suited to performances that people simply watch," she said. "Aquariums and theme parks, however, place greater emphasis on interaction and connection with the audience. Even with the same routine and interactions, you can often get unexpected results."
That interaction also changes how performers think about rhythm and presentation. A routine that works in a theater cannot necessarily be transferred unchanged to a tourist attraction, where audience reactions, distance and participation can all alter what happens on stage.
Sun Dawei, head of the Wuqiao Acrobatic School, told the Global Times that this shift is also changing the industry's approach to production.
"Acrobatics used to focus mainly on showcasing skills. Now there is greater emphasis on story-telling and emotional expression," he said. "Performances are no longer confined to theaters, but are increasingly staged as resident shows at cultural tourism venues."
According to Sun, a production usually begins with a theme, followed by the selection of appropriate skills. Performers then refine the routine repeatedly before adding music and stage design and going through multiple rehearsals.
"Traditional signature skills and core fundamentals must be preserved," he said. "Content that simply pursues danger or no longer fits contemporary aesthetics needs to be repackaged. Traditional skills should be given new forms of expression while retaining their roots and appealing to modern audiences."
For Bing Bing, this shift has also been made possible thanks to short-video platforms. Her apple routine gained its first wide exposure online before audiences encountered it in person.
"Short videos have helped more people learn about Chinese acrobatics and traditional culture, and encouraged more people to go to theaters and watch performances offline," she said. 
The growing visibility of acrobatics online, however, has raised another question: once traditional skills enter new venues and digital platforms, how can performers avoid simply repeating familiar formulas?
    Acrobat Liza performs an aerial acrobatics routine. Photo: Courtesy of LizaBreaking the formula
Russian aerial acrobat Liza, who has lived and worked in China for more than seven years and now performs regularly at Shanghai Qianguqing, a large-scale cultural tourism attraction featuring live performances, noted that the answer lies in how a show is constructed as a whole.
"A performance should start with an overall concept, and then you choose the props and music around it. Music itself can guide the choice of movements, provided the performer already has a solid technical foundation," Liza told the Global Times. "The transitions between movements have to be natural and smooth, like telling a story step by step. Costumes are also important because they complete the character. Everything needs to work together."
For Liza, technical difficulty should serve the performance rather than become the performance itself.
"Real professionalism means making the audience unable to see how hard you are working. Everything should look effortless," she said. "I value beauty and precision in movement. You should not make things more complicated simply to show off your skills. You should improve steadily as you grow as a performer, rather than constantly chasing greater difficulty."
She said that this is particularly important as increasingly extreme acts, including hair- and tooth-hanging, attract attention online.
"Most performers are following established templates, and I rarely see people creating something that is truly their own," Liza said. "You can find your own style and way of expression without taking excessive risks."
From an apple-tossing routine that drew more than 6 million likes to performances in aquariums and cultural tourism venues, traditional acrobatics is finding new ways to reach audiences. But bringing an old art back into the spotlight is not simply about making tricks harder or more spectacular. As Bing Bing's apple routine shows, sometimes it takes a familiar skill presented in an unfamiliar way to make a new generation stop and watch again.
。     　　数博会是我国唯一以促进数字出版产业发展为主题的国家级、国际化博览会，自2005年首次举办以来，已伴随行业走过20余载。本届数博会由中国新闻出版研究院、中国出版协会联合主办。据组委会相关负责人介绍，此次数博会得到了国内外出版机构的广泛关注和积极参与，预计参展单位逾500家，全国20个省(区、市)组团参展，30余个国家和地区的海外展商参展。     　　为充分呈现我国数字出版领域成果，本届数博会设置七大特色展区，分别为：中央部委所属出版单位数字出版展区、地方出版单位数字出版展区、数字技术创新应用与数字阅读体验展区、数字出版国际合作展区、中华优秀传统文化与网络游戏展区、出版学科专业共建高校联合展区、数智山东展区。

B | 其中，中华优秀传统文化与网络游戏展区为首次设立，旨在展现、交流中华优秀传统文化赋能网络游戏精品化发展路径。     　　数博会设置1场主论坛、6场专题论坛及80余场配套活动，为行业搭建深度交流研讨平台。论坛汇聚出版全产业链从业者，包括出版集团和出版单位负责人，相关行业协会负责人，数字阅读、网络文学等新媒体平台代表，技术企业代表，高校出版学科带头人，以及国际出版机构和国际组织的代表，与会嘉宾将围绕行业重大关切，就数字出版、人机协同、学科交叉建设、全球学术传播等议题深入研讨，探索可操作、可落地的路径和经验。

C |      　　作为本届数博会的举办地，数智山东展区将集中展示山东数字出版与数智化发展成果，系统推介山东数字化转型创新实践。展区涵盖出版融合创新、文化数字化转化、智慧阅读服务等特色板块，突出地域文化特色，增强公众参与度和体验感。本届数博会还设立出版创意工坊、数字文创市集等，多家出版机构将发布数字出版新产品，多场新书发布、作家签售活动也将在展会期间举办。

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Published on:18:19:16