The original desire to embrace the moon for nine days only disturbed a pool of clear waves-Entertainment Grand View-Market Information Network

The original desire to embrace the moon for nine days only disturbed a pool of clear waves

Market Information Network 2022-04-02 10:07:57 Source: Xinhua Net Comments:

On March 12, “The City of Philharmonic”, which is positioned as a “musical cultural promotion program”, began to be broadcast on Dragon TV. It is not difficult to see from the inclusion of a number of first-line actors in the musical industry and the selection of original musicals across the United Kingdom, the United States, France and China. The goal of “The City of Philharmonic” is to attract the original musical audience. On the basis of TV platform and music variety shows, we can reach a wider audience and pay attention to the musical market.

Logic is messed up

In 2018, the Hunan Satellite TV variety show “Sound into the Heart” was launched. With the popularity of musical actors such as A Yunga and Zheng Yunlong, the musical, which is positioned as a niche art in China, has achieved unprecedented development. The introduction of drama, original The drama and the environment-style resident dramas that have flourished in Shanghai in the past two years have jointly created a period of rapid development like spring. In addition, variety shows with vertical and in-depth themes are in the limelight on both TV and Internet platforms, so it makes sense for Dragon TV to launch such a program.

According to CSM data, the audience rating of the first episode of “The City of Philharmonic” was only 0.177%. In addition, judging from the discussion performance of related entries on social networks, it is difficult for even musical audiences to understand the program’s plot settings, performance quality and performance. Satisfied with the results of the competition. It can be said that both ratings and word of mouth have not achieved the expected results.

From the point of view of an ordinary audience, it is not surprising that “The City of Philharmonic” was coldly received.

First of all, the attributes of TV platforms and variety shows determine the way the repertoire is displayed. However, as a branch of theatrical performances, musicals are an art form that is comprehensively presented in terms of actor performance, script narration, and stage art design. requirements and TV broadcast habits are not completely compatible. The focus of “The City of Philharmonic” is more to show the personal abilities of the actors through song singing, costume modeling and performances with a slightly cramped duration, which greatly weakens the relationship between “The City of Philharmonic” and other types of music-themed variety shows. distinction between.

Coupled with the technical aspects of radio, arrangement, lyrics translation and many other issues, for the audience of musicals, the “artistic charm of musicals” that should have been shown in this program is greatly reduced compared to the theater effect. The audience also lacks a basic understanding of the repertoire, actors and performance forms, and their willingness to watch will naturally not be too strong.

It is not difficult to imagine that the variety shows that focus on a single field, such as “Drama New Life”, “Annual Comedy Contest” and even “Talk Show Conference”, present in-depth content and bring original offline performances to online. ” provided a reference model, and also accumulated a lot of confidence. However, unlike variety shows on Internet platforms where audiences are highly motivated, TV variety shows need to take into account more aspects. “City of Philharmonic” has the ambition to present a panoramic view. The most direct evidence is that the “Philharmonic Power Troupe” lineup includes Musical creators (Xiao Ke, Huang Shujun), musical actors (A Yunga), singers (Liao Changyong), and popular “outsiders” (Zhang Yuqi, Da Zhangwei), and invited a number of music producers Company representatives.

But the core problem of “City of Philharmonic” is also because of this comprehensive “assist group” lineup. Leaving aside the specific issue of individual judging qualifications, this judging lineup determines that their judging logic is neither a professional skill judging system similar to an art examination, nor a musical performance evaluation system similar to an actor’s interview in a cast. Every choice is somewhat confusing. People can’t figure it out. Coupled with the inertia of thinking in variety shows to create dramatic conflicts, some reversals of “mobilizing the audience’s nervousness” must be set up in the contestant selection process – even Xia Zhenkai, who has rich acting experience and outstanding personal ability, cannot get 4A (four loves). Music to help people vote), it needs A Yunga’s escort to become the bridge section of the A corner, only the drama has no drama, it is difficult not to make the audience of the musical in front of the screen feel very offended.

However, from the perspective of showing the current situation of the musical theater industry, “The City of Philharmonic” can be considered an unintentional addition. Xia Zhenkai rejected 6 musicals in order to participate in the show, and Liu Yixuan in the second scene blurted out the sentence “Are there so many dramas for male actors”, which brought the gender issue that was still unresolved under the overall prosperity of the industry to the stage, making it so People mourned.

fans hold on

Let’s broaden our horizons a little bit. Just as the first few issues of “Theatre New Life” caused controversy because of “Is the drama worth a meal?”, the musical itself, which is also a theater art, is also facing the “niche art”. Contradictory status quo: Most musicals choose a popular musical style, and the combination of singing and dancing means that the threshold is relatively low for ordinary audiences. However, the additional time and economic cost of theater art itself determines that it cannot really touch to a wide audience such as film and television.

“The City of Philharmonic” apparently also noticed this problem. The theme of the first round of the program was “the first musical I watched in my life”, which was intended to resonate. The selected repertoire includes world-renowned classics such as “The Phantom of the Opera”, “Rock and Roll Red and Black”, and “Romeo and Juliet”, as well as “Murder Ballad” and “In the Distance”, which have a wide range of domestic tour coverage. Apollonia, a resident work with a double harvest of domestic popularity and word-of-mouth, is evident in its efforts to meet the aesthetic needs of different types of audiences as much as possible. The secondary dissemination of some performance clips on the Internet can also be regarded as a reward for the efforts of “The City of Philharmonic”.

However, secondary communication is still concentrated within the original audience of musicals. In fact, according to some ticketing platforms’ research on audience consumption habits, it can be found that the age group of musical audiences is concentrated between 20 and 34 years old, with women accounting for nearly 70% of the total. The user stickiness and repurchase rate are extremely high, so it cannot be arbitrarily concluded that musicals have entered a period of prosperity based on the high box office of some staged plays – regardless of whether this prosperity is mainly concentrated in Shanghai, Beijing, Guangzhou, etc. First-tier cities, in fact, only propped up a sky with some audiences who have developed the habit of watching dramas to increase the frequency of personal ticket purchases.

who to show

Since the type of performance is not completely compatible with TV, it is not close to the people compared with the form of mass entertainment, and the inherent market for musicals is not as huge as it appears, so who is “The City of Philharmonic” for?

Let’s do some bolder planning: If “The City of Music” wants to meet the needs of more musical theater audiences, then the content involved should be the parts we can’t see during the stage performance, such as the main creator and actors. How to run in and communicate, polish a play to the extent that it is enough to go on stage and meet the audience; or focus on some in-depth content in the non-performance environment in front of and behind the stage, including the presentation of the actors’ work status. Each of the above points requires the program team to be more professional in both musicals and TV variety planning.

If “City of Philharmonic” only wants to show the charm of stage art for potential users who have never experienced the musical scene in the theater, then it is necessary to extract the parts that are more suitable for TV platforms, and invest more manpower and material resources to make the audio-visual experience. to the extreme. After all, the opportunity of popular science of musicals was seized by “Sound into the Heart” a few years ago. Even famous musical actors are only between stars and amateurs for most people. If “The City of Philharmonic” wants to become an irreplaceable “unique”, it must choose a path between “professionalism” and “exquisiteness” and take a few more steps forward.

Before the show started, “The City of Philharmonic” drew a pretty wonderful picture. In a city with a highly prosperous art market, a group of people who were assiduous in their dreams of the stage gathered together to perform a musical inhabited in the theater. on a bigger stage. Unexpectedly, it was interrupted by the competition format that was supposed to increase the drama. It seemed that everything was done, and it seemed that nothing was done. Of course, the audience rating is not the only criterion for the final evaluation of a program. The “Sound into the Heart”, which has become an inflection point in the industry, also sparked a heated discussion on the Internet after it was broadcast on TV.

The attention of many musical theater audiences to “The City of Philharmonic” comes from this almost glowing list of contestants. However, whether a musical can enter the ranks of the classics requires all the creative departments to fully demonstrate their abilities to bless them, and it also requires some opportunity to seize the fateful time. The biggest function an actor can play on this show is to fill the stage performance part.

In addition to the attention brought by the program itself, the development of domestic musicals is also related to the large-scale market for overseas plays under the influence of the epidemic. In the past few years, even the young audiences cultivated through “Sound into the Heart” have become more rational in their consumption behavior. The market with serious homogeneity of content and form is looking forward to breaking the bottleneck through higher-quality creation and performance. It remains to be seen whether the “La La Land” can break down barriers, attract external audiences, and promote the development of the industry, but starting from the minimum requirement of leaving at least a few unforgettable stage performances, “La La Land” can do it ?

(Text / Xia Baixia)

Responsible editor: gaoxuejing Liu Yuan