Relying on the likes and rewards in the live broadcast room, many troupes are coming out of the trough. According to the data, in 2022, art performance groups across the country will carry out online performance exhibitions and broadcasts7630,000 times, on the Douyin platform, 1,145 actors from 92 art troupes have started live broadcasts, and the reward income has increased by 4 times year-on-year in the past year. The live broadcast room has become the second stage of the troupe.
With the deepening of the transformation of state-owned art troupes into enterprises, many troupes have changed from a single creative and performance group to a business entity participating in market competition, and the financial support mode and their own operation mode have undergone tremendous changes. In addition, the offline performance market has been sluggish in the past few years, and the income of the troupe is not enough to cover the operating costs. In 2022, the number of performances by art performance groups nationwide decreased by 28 year-on-year6%, domestic audience fell 66%, performance revenue fell 284%, the financial pressure is more prominent, and finding a new stage has become a real need.
At the same time, the "14th Five-Year Plan for Cultural and Tourism Development" proposes to promote the integrated development of online and offline, and guide theatrical performance groups to use new and new technologies to carry out online live broadcasts. This has created a promising prospect for the troupe to explore the integrated development format of "offline performance + online performance".
For these troupes, live streaming means new revenue**: audience tipping provides additional financial support, sponsorship and advertising can also increase revenue, and some theater companies use live streaming traffic to "feed" offline box office revenue, forming a virtuous circle. At the same time, live broadcast also means more development opportunities, and the live broadcast room breaks through the time and space limitations of offline performances, lowers the cost of watching performances, attracts a wider audience, and helps to expand its influence and popularity.
While the troupe is looking for increments in the live broadcast room, some problems still need to be solved. For example, the audience is unable to interact with the actors face-to-face compared to live performances, and the lack of atmosphere affects the viewing experience. For some troupes with limited funds, they are unable to purchase professional live broadcast equipment, lack professional live broadcast talents, and the online operation level is not mature, so it is difficult to guarantee the live broadcast effect.
In response to these problems, the troupe needs to plan and select the program content more carefully, launch works suitable for viewing, and ensure that the performance content can meet the aesthetic needs of Internet audiences. During the live broadcast, it is also necessary to pay attention to enhancing the audience's sense of participation, actively answering the audience's questions, conducting first-class exchanges, providing first-class discussions, etc., so as to establish a closer connection with the audience.
Live streaming is not about moving offline performances online, but the troupe needs to innovate with the characteristics of mobile live broadcasts, and combine live broadcast technology with traditional performances. For example, create unique performances by using multiple camera positions, switching camera angles, adding special effects, and morePay attention to the details such as stage scenery and costume design, and restore and enrich the quality and artistic expression of the performance as much as possible.
Marketing promotion may bring unexpected gains, and the troupe may wish to increase publicity through social channels**, etc. Or release trailers, highlights, etc. to stimulate the audience's expectations, or use multiple accounts to form a matrix to co-create, actively look for sponsors, and cooperate with other art groups or institutions to jointly increase the influence of the live broadcast.
With the help of live broadcasting, relevant associations and platforms can achieve a greater range of win-win results with the troupe. In this regard, the platform can provide assistance for the live broadcast of the troupe in terms of content planning, traffic support, operation services, brand building, etc., help the troupe that is testing the water live broadcast to get on the right track, and help the troupe with an unstable pace to gradually get better, which will also help enrich the supply of online cultural products and better meet the market demand. (This article**: Economy** Author: Zeng Shiyang).