中国传统文化节网络直播的英语作文
篇1
"Watching 'Peony Pavilion' on the Internet, I felt that Du Liniang suddenly came out of the TV and chatted with me face to face!" "The bullet screen I nt, she can also e, very strange feeling." In 2017, Momo Live did a live broadcast program of "The Attack of National Esnce Art", and Shao Tianshuai, an actor of the Northern Kunqu Opera Theater, and Bai Jin, an actor of the Beijing Opera Hou in Beijing, were invited to the live broadcast room for the first time to perform online live broadcasts, and netizens issued the above bullet screen comments.
The nearly two-hour live broadcast was viewed by more than 1.4 million people. During the live broadcast, Shao Tianshuai and Platinum, two young actors, not only performed classic plays such as "Peony Pavilion", "Hall of Eternal Life", "Noble Concubine Drunk", etc., but also introduced the knowledge of opera such as makeup and clothing for netizens, and netizens constantly interacted with them, and gave virtual gifts such as "Little Golden Bear"
万古如斯and "Golden Microphone" to the two in addition to listening to them.
芹菜饺子的做法
In Bai Jin's view, traditional culture such as opera once faced the dilemma of inheritance, a big reason is that its own content and form, did not keep up with the diversified aesthetics of modern society, and the emergence of live broadcasting, "forced us to make changes, otherwi we can not face the live broadcast room hundreds of thousands or even millions of viewers."
Zhuang Fei, the anchor of the Kugou live broadcast platform, is originally a Cantone opera actor, good at traditional arts such as Cantone opera, Peking Opera, Sichuan opera, etc., and has more than 20 years of stage performance experience. After entering the Kugou live broadcast, Zhuang Fei combined the special effects of online live broadcast with opera to adapt the lotus hand dance, and intersperd Cantone rap in the opera performance, so that the traditional opera was prented in a new form, which was welcomed and sought after by young audiences. 职业道德
最难忘的一件事作文When he first started live streaming La Erhu, Cai Yang was decent, like performing in a th
安以轩恋情曝光eater. The "gameplay" change started with a barrage comment of "Cai Yang, will you cool down". Cai Yang consulted the theme song of this TV ries "Three Lives and Three Worlds and Ten Miles of Peach Blossoms", which is very popular among young people, and then began to listen to songs, pick up scores, pair scores, find tones, and practice. As soon as the Erhu version of "Cool And Cool" came out, the comments in the live broadcast room instantly "exploded": "Erhu can still play like this!" "Can I order another song?" Since then, Cai Yang has consciously innovated the form and content of erhu performances, and traditional folk music has become "fresher and fresher the more she plays" in her hands.
To conduct webcasting is to communicate with young people in a youthful way, which has become the connsus of artists. With the innovation of expression, traditional culture has rekindled the interest of young people. As we saw in Cai Yang's live broadcast room, "I want to worship the teacher" became one of the most frequent comments by netizens.
歇后语一年级
篇2
Combining webcasting with traditional culture and allowing artists to u new media channels to disminate traditional culture is an innovative and exemplary form of communication.
植树节手抄报简单好看
With the emergence of more and more traditional cultural forms such as traditional opera, ancient costumes, folk handicrafts, etc. in the live broadcast room, becau it is different from the "beauty live broadcast" that once spelled the face value and the lower limit of the show, the live broadcast of interpreting traditional culture is regarded as a clear stream in the live broadcast industry, which not only spreads the traditional culture, but also improves the ecology of online live broadcasting. "Doing live broadcasting of traditional cultural content, at first in order to assume social responsibility, later we found that traditional culture can also bring traffic to the platform, and let people e the charm of combining traditional culture and live broadcasting." Jia Wei, vice president of Momo and head of the live broadcast business, said.
However, most traditional cultural projects are still relatively niche, so in order to attract a
large number of "fans", traditional culture live broadcasters have to make extraordinary efforts. In addition, the industry characteristics of online live broadcasting make traffic a target for network anchors and live broadcast platforms to cha. Traditional culture and art, due to their own characteristics, can not always become the "traffic bearer" in the network live broadcast, which requires the live broadcaster to carry out the live broadcast of traditional culture, can not take the traffic as the only pursuit, let alone for the traffic and malicious tampering with, blasphemy of traditional culture. In the practice of live broadcasting, there have been network live broadcasts that deconstruct traditional culture in the name of "traditional culture", and tho live broadcasts are spreading a so-called "personal style" with no cultural value, diluting people's respect for traditional culture, and some anchors even challenge the rules of tradition with their own ignorance, which has a bad impact on young audiences, and the phenomena are worth vigilance.
大寒文案
