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

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    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.
。          　　近日，知名作家余华一个月内两次公开“打假”引发全网热议。从辟谣市面流通的假冒亲笔签名图书，到再度澄清散文《家徽》并非自己作品，特别是后者长达九年的持续辟谣，却始终挡不住虚假信息的肆意传播，让余华无奈坦言，这已然变成一道“无解的题”。     　　文学乌龙如何愈演愈烈      　　据了解，散文《家徽》是湖北作家胡成中1995年发表的原创作品，早年因音频栏目错误署名，被误归为余华所作。从2017年起，余华多次公开对这个错误予以澄清。     　　辟谣之下，错误信息非但没有消亡，反而持续扩散蔓延。不仅各大社交平台长期留存错误署名文稿，这篇作品还流入中小学语文试卷、教辅资料，成为固化的“伪常识”。     　　余华的遭遇并非个例。

B | 近年来，莫言曾专门发文集中辟谣各类冒名作品与伪金句，鲁迅、杨绛、张爱玲等已故文学大家，更是长期沦为网络伪语录的“重灾区”，各类杜撰名言、嫁接文章泛滥成灾，名人被冒名侵权已成网络文化常态乱象。     　　AI放大传播恶性循环      　　名人伪作、虚假署名乱象屡禁不绝，核心根源是网络流量逻辑催生的低成本、高收益灰色产业链。对于部分自媒体和流量从业者而言，只需将普通作品篡改署名、嫁接知名作家名号，或是凭空拼凑杜撰名人金句，就能借助名人IP的影响力，大幅提升点击量、转发量与传播度，进而收割流量、实现商业变现。     　　与轻松牟利的造假方形成鲜明对比的是，被侵权的创作者维权成本极高。无论是余华九年反复辟谣耗费的时间精力，还是北京鲁迅博物馆专门搭建名言检索系统甄别虚假语录的投入，个体及小众机构的纠错速度，始终追不上网络信息裂变式传播的速度。     　　人工智能的普及，进一步加剧了这一乱象的危害。当前多数AI大模型抓取网络公开语料时，无法自主甄别内容真伪。经过AI二次加工、重构生成后，原本的谬误被进一步固化、扩散，让虚假内容变得更逼真、更具迷惑性，彻底模糊了原创与造假的边界。     　　乱象侵蚀文化生态      　　肆意泛滥的名人伪作，是对原创知识产权的严重侵害，更是对整个网络文化生态的持续侵蚀。对于原作者而言，辛苦创作的劳动成果被随意挪用、署名权被无端侵占，合法权益长期得不到保障;对于被冒名的名家来说，杜撰的文字曲解其思想观点，扭曲其公众形象，让无辜的他们承受不必要的误读与争议。     　　普通网民更是直接受害者。网络用户难以甄别内容真伪;而流入试卷、教辅、出版物的虚假文章，会持续误导青少年的文学认知与价值判断，误导其建立错误的文学常识。

C |      　　当造假成本低廉、维权辟谣举步维艰，当流量可以凌驾于真相与原创之上，不仅会打击创作者的创作热情，更会让网络文化陷入浮躁、失真的困境，破坏健康的内容创作与传播秩序。     　　需要多方协同共治      　　守护原创真实、整治网络造假乱象，需要平台、AI企业、传播机构多方发力，构建源头治理、全程管控的长效机制。     　　内容平台需切实扛起主体责任，针对知名作家、公众人物的相关内容，加大筛查审核力度，对查实的冒名伪作及时下架清理，阻断二次传播。电商平台需严格核查名人文创产品资质，严厉打击假冒签名图书等牟利行为。

D |      　　AI内容服务商需补齐技术短板，通过提高权威信源权重等方式，杜绝虚假内容被二次生成。     　　此外，教辅编纂、媒体传播、大众转发等各个传播环节，都需树立溯源求真意识，摒弃拿来即用的惰性思维，主动核实内容来源与作者信息。

E | 唯有多方共同努力，才能真正肃清网络伪作乱象，守护原创价值，筑牢真实、健康的网络文化根基。

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Published on:02:17:04