Frequent communication
Platforms similar to Gao's idea already exist in China, in the form of art performance fairs. Such fairs are annual events that last three to four days, sponsored by the Ministry of Culture.
Though such events facilitate communication between art theaters and contractors, these occasions are infrequent and have unfixed schedules. This results in outstanding performances overlooked each year.
"The online service works around the clock and offers more opportunities for the two sides to communicate," said Gao.
Open to industry insiders including producers, performers, professionals and performance contractors, the idea is to develop this model into a large-scale and professional platform.
As a member of the panel during the inaugural activity providing suggestions to both sides, Fu thinks highly of this platform.
"It facilitates the communication between producers and contractors," he said. "If there are more subdivisions in the industry line of the stage performance, the platform will be more effective," Fu told the Global Times.
Although some websites in China like damai.cn and 228.com.cn currently engage in the ticketing aspects of stage performances, their roles are limited to collecting performance information.
Without contractors or promotional aspects, it's difficult for art theaters or studios to sustain performances.
The cast from The Execution of the Judge of Hell, an innovative performance incorporating Peking opera and shadow play produced by Han Feizi Shadow Puppet Company in 2009, participated in Gao's inaugural event. Although the play has received acclaim from the foreign market, it is still relatively unknown in China.
"One reason we put our focus abroad is because we are facing difficulty promoting it in the country," said Han Chi, producer of the play, "I think the platform is a great thing, especially for private theaters that don't have the resources State-owned productions have."
Foreign models
China's show business started to develop in the early 1990s and has seen a great deal of commercial changes. But despite the production of innovative plays, China still doesn't have an effective platform to promote plays, unlike its foreign peers.
"Foreign countries used this kind of platform a while ago, only in different forms," said Gao.
Art festivals are an example. Large-scale ones like Festival d'Avignon and the Edinburgh International Festival are a comprehensive way for play producers, contractors and theaters to meet and network with each other.
Another example is the industry association for Broadway. The alliance of theaters can collectively buy copyrights of different performances from producers without having to talk to each another separately, opening the market to stage producers and performers.
"We can't simply copy these models in foreign countries. We have a different market environment and resources," said Gao. "We must complete this platform through practice."
The standardization of copyright payments and the organization of tour performances are still in development.
"We hope this platform can be a free, transparent and convenient method for staged work," Gao said. "It can be a progressive, cultural link between China and the world, bringing world-class art performances into China while exporting ours out."
Source: Global Times
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