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新编越剧《游子吟》情动京城，超强阵容传唱慈孝故事——
4月26日，历时近3年创作、精彩感人的新编越剧《游子吟》，在北京国家大剧院隆重登场。这场由浙江德清县委、县政府和浙江越剧团联合打造的文化盛宴，现场收获台下平均5分钟一次的掌声。在婉转柔情的唱腔感染下，北京观众为跌宕起伏的剧情流泪、动容，感受戏里戏外的慈孝文化和家国情怀。
这次演出阵容很强。中国戏曲学院戏文系教授、硕士研究生导师、著名编剧颜全毅担任编剧，著名戏曲导演杨小青担当导演。国家一级演员、第26届中国戏剧梅花奖获得者王滨梅，优秀青年演员汪舟格，国家一级演员、第25届中国戏剧梅花奖获得者华渭强，用他们精湛的演技分别刻画出孟郊母亲、孟郊以及教书先生的形象，演绎了令人震撼和感动的中国式母子情。无论是创作班底还是演出阵容，新编越剧《游子吟》聚集了浙江越剧团老、中、青三代优秀演员。
近年來，先后有德清县政府与杭州越剧团合作创排《德清嫂》；松阳县政府与浙江越剧团合作创排《张玉娘》；德清县政府与浙江越剧团合作创排《游子吟》；遂昌县政府与浙江越剧团合作创排《牡丹亭》；天台县政府与浙江歌舞剧院共同创排音乐剧《天台遇仙》；中央歌剧院、武汉市黄陂区政府联合宁波市演艺集团共同创作舞剧《花木兰》等。
这种资源共享、合作双赢，弥补艺术创作演出不平衡、不充分的发展现状，满足地方艺术创作的热情与需求，省属院团创新服务模式，正成为当下舞台艺术创作生产中一个新的文化现象。
正如德清县文广新局负责人表示：“我们借助专业团体的范式，最大限度地整合本地民间文艺资源，把文化‘引进来’，让优秀文化惠及杭州德清，最终双方受益。”
由于历史的原因，浙江的艺术创作和演出资源的分布很不平衡。比如，丽水、湖州均没有专业的戏曲剧团，嘉兴只有海宁越剧团，而绍兴仅专业越剧团就有绍兴、诸暨、嵊州、上虞4个，其他还有绍剧团、新昌高腔剧团等。
随着浙江经济的发展和人民生活水平的提高，各地市对精神文化产品的需求日益强化。他们急切希望挖掘地域文化题材并打造成艺术产品，来凝聚人心、服务当地群众，但苦于缺少艺术创作资源，一时也难于兴办剧团；而省属院团的创作演出资源丰硕，同时也正在寻找服务社会与基层的机会。这样一来，两者的对接无疑满足了各自的需求。
浙江越剧团最早是在2013年打造越剧现代戏《我的娘姨我的娘》时开始同地方政府合作。当时由于这个题材来自台州玉环县，为了做好采风和创作工作，打造好这个剧目，浙江越剧团同玉环县委、县政府和宣传部门进行了接洽。当地政府也对该剧目前期的实地采风、座谈、研讨、体验生活以及相关宣传片的拍摄给予了很大支持，并为剧目丰富了翔实感人的生活细节，使该剧目创作演出得以成功。该剧在2014年获得了中宣部第十三届精神文明建设“五个一工程奖”。
有了这次成功的合作经验，随后浙江越剧团又先后与遂昌、松阳、德清等地合作了越剧音乐剧《牡丹亭》以及原创历史传记剧《张玉娘》《游子吟》。从一开始的主动出击，到后来地方政府主动上门要求与专业院团合作，双方的资源共享、合作互补工作做得越来越好。
“通过与地方政府合作，剧团为更多演职员争取了艺术实践的机会，让更多的人才脱颖而出，完善了越剧男女合演艺术人才的梯队建设。剧团创作的剧目多了，增强了剧目储备和剧团的艺术积淀。”浙江越剧团团长陶铁斧说。
青年演员谢莉莉通过《我的娘姨我的娘》《牡丹亭》《张玉娘》这三出大戏的演出实践，艺术力能不断提升，先后荣获浙江省第十三届戏剧节优秀表演奖以及“浙江戏剧奖·金桂表演奖”；而青年演员汪舟格，也正是因为在与德清越剧团合作的《游子吟》中扮演男一号孟郊，专业能力得到显著提升，已经成为浙江越剧团新一代越剧男演员中的佼佼者。
舞台艺术创作机制需要综合性人才队伍，而对地方院团来说，鲜少有演艺团队能够齐集各类人才。因此，打破地域和层级限制，充分挖掘本地的潜力，借力全市、全省、全国乃至全球的艺术资源，成为突破创作瓶颈、创新合作模式的主要着力点。
2013年，宁波市演艺集团与中央歌剧院合作，创排反映宁波题材的歌剧《红帮裁缝》，不仅创新了“央地合作”的文化工作机制，也学习借鉴了国家级院团的管理方式，带动了本土创作人员的业务提升。合作既是一种资源整合，更是一种双赢模式。2016年上半年，中央歌剧院主动拋来“橄榄枝”，提出与宁波市演艺集团建立长期合作关系，并最终签订了战略合作协议。双方拟在舞台精品创作剧目、文化产业项目开发、结对帮扶惠民演出、区域市场开拓等方面开展深入合作，开辟“央地”长期可持续合作的全新模式，优势互补，共同发展。
舞剧《花木兰》就是双方的合作剧目，由宁波市演艺集团的歌舞剧院和中央歌剧院交响乐团共同演出。最初投资方湖北黄陂区政府提出花木兰题材，宁波演艺集团一度认为题材老套，迟迟没有签订协议，并多次奔赴北京召集主创团队反复研究，集思广益，最终从“和平女神”入手，架构起一个全新形象的“花木兰”。正是这种精益求精的艺术质量追求，让投资方十分满意，将原本的600万元投资追加至1000万元。在该剧的创排阶段，宁波市演艺集团专门从北京引进了20个新演员，形成优化的人才梯队。
《花木兰》由朱海编剧，周莉亚、韩真编导，杜鸣作曲，谭泽恩担任舞美设计，韩江担任灯光设计，王钰宽担任服装设计，贾雷担任造型设计师。这些国家一流的主创、精锐的优秀演员为该剧的艺术质量提供了坚实的保障。该剧先后亮相国家大剧院、第十五届亚洲艺术节和第四届世界互联网大会，受到中国舞协、中国音协、中国剧协等一大批专家及业内人士的高度评价，也成为地方艺术团体创作国内一流作品、走向主流剧场的有益探索。 寧波市演艺集团成立以来，先后20余次出访亚洲、欧洲、美洲、非洲、大洋洲等数十个国家和地区，在与国外演艺团队和艺术家建立良好联系的同时，探索借力国际资源，实施中国文化“走出去”战略。2014年，舞剧《十里红妆·女儿梦》赴美国演出前，宁波市演艺集团邀请美国编导到宁波对全剧作了适合美国市场要求的适应性改编，在美国纽约林肯艺术中心上演，取得极佳效果。2016年新创排的《霸王别姬》，主创阵容全部来自美国，开创了宁波舞台艺术作品“国外创作、国内制作”的先河。
德清拥有深厚的历史文化底蕴。如何把优秀的传统文化和经济、生态发展的成果以文艺作品的形式呈现出来，这是德清文艺创作的一个主要目标。但德清县内没有专业的院团，打造一支专业的文艺院团需要做大量的准备工作和时间、资金等投入。面对这一实际，德清县主动探索、实践新路径，以向专业文艺院团借力互补的方式，破解这一难题，打造出《德清嫂》《游子吟》《德清谣》等大型文艺作品和《拍电影》《捉放鸟》《老马不傻》等走进央视的小品节目。
德清县与浙江省越剧团、杭州越剧院合作，将德清的传统文化和道德文化以戏曲形式形象化。在合作过程中，德清与省市院团共同发力，取得不俗的成绩，实现合作多赢。对德清来说，文艺精品彰显了文化自信，结合“文化走亲”等活动，提高了德清县的知名度和美誉度。2012年，德清与杭州越剧院合作创排现代题材越剧《德清嫂》，两次走进国家大剧院演出，入选全国“五个一工程奖”，获省“五个一工程奖”、浙江省第十二届戏剧节“新剧目大奖”等奖项，累计演出200场。《德清嫂》已成为德清文化品牌。
在《德清嫂》《德清谣》《游子吟》等作品的展演方面，德清创造性地实行两套班底，即“明星班”和“草根班”。例如，《德清谣》的“明星班”由杭州广艺舞蹈团和上海鼓鼓文化艺术团构成，“草根班”由德清本土演员组成，在“明星班”的专业教授下，主要在全县文化礼堂巡演，满足农村百姓的文化需求。而《德清嫂》与《游子吟》则由县里的3个民营剧团组成“草根班”。演员来自不同的岗位，理发店老板、工厂女工、保险公司职员……她们不仅承担了《德清嫂》到乡村、社区的普及巡演，而且以德清人现身演唱德清事的方式，把公民道德文化建设的种子播种到各个角落，体现出以一个题材创作出一个精品，—个精品带出一支队伍的德清特色。
Zhejiang Theater Finds New Ways to Flourish
By Yi Zhang
Zhejiang used to be a powerhouse of regional operas， which catered to urban and rural audiences across the province in good old days. Nowadays， many opera troupes have vanished， some have flourished and some have been struggling. However， a new approach adopted by local governments and troupes is giving local theater a new boom.
Take a look at ， a Yueju Opera play inspired by and based on the namesake poem by Meng Jiao， a poet of the Tang Dynasty （618-907）. The play is a joint production of Deqing County （Meng Jiao was a native of Deqing） in northern Zhejiang and Zhejiang Yueju Opera Troupe. The cast includes artists from Zhejiang Yueju Opera Troupe and the production team includes top artists such as the scriptwriter Yan Quanyi， a professor with the China Theater Academy and the prominent theater director Yang Xiaoqing. On April 26， 2018， a performance of the play in Beijing brought down the house.
The production of the play was made possible by the new development mode now widely used in theater in Zhejiang. Regional opera troupes in Zhejiang want to create new plays and they have audiences， but lack resources to expand their repertoires. Local governments have funds to support cultural creativities and have ambition to tap into local cultural resources and bring entertainment to local communities. Some counties and cities no longer have an opera troupe but the traditional theatergoers are hungry for theater entertainment. These grassroots troupes don’t have top talents for creating top performances for regional， national and global audiences. On the other hand， provincial and national troupes seek funds and opportunities to serve grassroots markets. To solve their problems， regional governments and troupes first reached out to provincial and national troupes. In the past few years， there have been successful joint productions through partnerships of regional troupes， local governments， provincial and national talents and troupes. is not the first joint theater production on the part of Deqing County. The first was ， first staged in August 2012. It was a joint endeavor between Deqing County and Hangzhou Yueju Opera Troupe. Suichang County and Zhejiang Yueju Opera Troupe have partnered in creating . Tiantai County and Zhejiang Song & Dance Theater have jointly created an opera called . Ningbo Performance Group （NPG） has produced in partnership with the Central Opera Theater and Huangpi， a district under the jurisdiction of Wuhan City in central China’s Hubei Province.
As Yueju Opera is the largest regional opera genre in Zhejiang Province， Zhejiang Yueju Opera Troupe has played a leading role in this fruitful joint theater production mode. The troupe’s first joint production occurred in 2013. It was a partnership with Yuhuan County in the southeast of the province. The county government provided funds and support for scriptwriters to learn about local history， culture and people. The new play was called ， which caused a big stir among local audiences and won a national government award in 2014. With this successful experience， the troupe has created and performed plays in partnership with some more local governments.
If many joint productions in Zhejiang are between local governments and provincial troupes， then Ningbo Performance Group， founded in December 2011， is certainly different. It has wanted to be a big player on both national and international show market.
was a project the NPG did in partnership with Huangpi District. The district government in Wuhan approached the group and offered a budget of 6 million to produce a performance based on Mulan， presumably a native of Huangpi. The group hesitated， thinking wasn’t a fresh idea on the market. But the group didn’t give up totally. It sent its people to Beijing to meet talents based there. After a few brainstorm sessions， they envisioned Mulan not as a war hero but as goddess of peace. It was a fresh reincarnation of the young woman in the millennia-old folktale. The Huangpi government was excited and expanded the investment to 10 million. The play was a huge success. It has been performed at National Grand Theater in Beijing， the 15th Asia Art Festival and the 4th World Internet Congress in Wuzhen. Critics and professionals thought highly of the performance.
In fact， NPG has staged shows overseas in more than 20 countries. Its cooperation with overseas talents has been successful. In 2014， it invited an American team to adapt its show for the American entertainment market. The dance drama was staged at Lincoln Center for the Performing Arts in New York. The commercial American tour was a huge success. In 2016， NPG’s was reproduced by an all-American team.
Artists of provincial troupes and local troupes have benefited a great deal from such joint productions. Artists with the provincial troupes have won top national theater awards for their performances in such joint shows whereas local artists have learned a great deal. Take Deqing for example， the county has worked with professional troupes based in Hangzhou for three plays. The grassroots artists of Deqing had their own casts for the plays. On important occasions， amateur artist and professional artists from Hangzhou perform together. All-local casts perform at the grassroots level and cater largely to rural audiences from community to community across Deqing.
4月26日，历时近3年创作、精彩感人的新编越剧《游子吟》，在北京国家大剧院隆重登场。这场由浙江德清县委、县政府和浙江越剧团联合打造的文化盛宴，现场收获台下平均5分钟一次的掌声。在婉转柔情的唱腔感染下，北京观众为跌宕起伏的剧情流泪、动容，感受戏里戏外的慈孝文化和家国情怀。
引人注目的文化新现象
这次演出阵容很强。中国戏曲学院戏文系教授、硕士研究生导师、著名编剧颜全毅担任编剧，著名戏曲导演杨小青担当导演。国家一级演员、第26届中国戏剧梅花奖获得者王滨梅，优秀青年演员汪舟格，国家一级演员、第25届中国戏剧梅花奖获得者华渭强，用他们精湛的演技分别刻画出孟郊母亲、孟郊以及教书先生的形象，演绎了令人震撼和感动的中国式母子情。无论是创作班底还是演出阵容，新编越剧《游子吟》聚集了浙江越剧团老、中、青三代优秀演员。
近年來，先后有德清县政府与杭州越剧团合作创排《德清嫂》；松阳县政府与浙江越剧团合作创排《张玉娘》；德清县政府与浙江越剧团合作创排《游子吟》；遂昌县政府与浙江越剧团合作创排《牡丹亭》；天台县政府与浙江歌舞剧院共同创排音乐剧《天台遇仙》；中央歌剧院、武汉市黄陂区政府联合宁波市演艺集团共同创作舞剧《花木兰》等。
这种资源共享、合作双赢，弥补艺术创作演出不平衡、不充分的发展现状，满足地方艺术创作的热情与需求，省属院团创新服务模式，正成为当下舞台艺术创作生产中一个新的文化现象。
正如德清县文广新局负责人表示：“我们借助专业团体的范式，最大限度地整合本地民间文艺资源，把文化‘引进来’，让优秀文化惠及杭州德清，最终双方受益。”
专业院团服务地方的新模式
由于历史的原因，浙江的艺术创作和演出资源的分布很不平衡。比如，丽水、湖州均没有专业的戏曲剧团，嘉兴只有海宁越剧团，而绍兴仅专业越剧团就有绍兴、诸暨、嵊州、上虞4个，其他还有绍剧团、新昌高腔剧团等。
随着浙江经济的发展和人民生活水平的提高，各地市对精神文化产品的需求日益强化。他们急切希望挖掘地域文化题材并打造成艺术产品，来凝聚人心、服务当地群众，但苦于缺少艺术创作资源，一时也难于兴办剧团；而省属院团的创作演出资源丰硕，同时也正在寻找服务社会与基层的机会。这样一来，两者的对接无疑满足了各自的需求。
浙江越剧团最早是在2013年打造越剧现代戏《我的娘姨我的娘》时开始同地方政府合作。当时由于这个题材来自台州玉环县，为了做好采风和创作工作，打造好这个剧目，浙江越剧团同玉环县委、县政府和宣传部门进行了接洽。当地政府也对该剧目前期的实地采风、座谈、研讨、体验生活以及相关宣传片的拍摄给予了很大支持，并为剧目丰富了翔实感人的生活细节，使该剧目创作演出得以成功。该剧在2014年获得了中宣部第十三届精神文明建设“五个一工程奖”。
有了这次成功的合作经验，随后浙江越剧团又先后与遂昌、松阳、德清等地合作了越剧音乐剧《牡丹亭》以及原创历史传记剧《张玉娘》《游子吟》。从一开始的主动出击，到后来地方政府主动上门要求与专业院团合作，双方的资源共享、合作互补工作做得越来越好。
“通过与地方政府合作，剧团为更多演职员争取了艺术实践的机会，让更多的人才脱颖而出，完善了越剧男女合演艺术人才的梯队建设。剧团创作的剧目多了，增强了剧目储备和剧团的艺术积淀。”浙江越剧团团长陶铁斧说。
青年演员谢莉莉通过《我的娘姨我的娘》《牡丹亭》《张玉娘》这三出大戏的演出实践，艺术力能不断提升，先后荣获浙江省第十三届戏剧节优秀表演奖以及“浙江戏剧奖·金桂表演奖”；而青年演员汪舟格，也正是因为在与德清越剧团合作的《游子吟》中扮演男一号孟郊，专业能力得到显著提升，已经成为浙江越剧团新一代越剧男演员中的佼佼者。
艺术创作机制的新尝试
舞台艺术创作机制需要综合性人才队伍，而对地方院团来说，鲜少有演艺团队能够齐集各类人才。因此，打破地域和层级限制，充分挖掘本地的潜力，借力全市、全省、全国乃至全球的艺术资源，成为突破创作瓶颈、创新合作模式的主要着力点。
2013年，宁波市演艺集团与中央歌剧院合作，创排反映宁波题材的歌剧《红帮裁缝》，不仅创新了“央地合作”的文化工作机制，也学习借鉴了国家级院团的管理方式，带动了本土创作人员的业务提升。合作既是一种资源整合，更是一种双赢模式。2016年上半年，中央歌剧院主动拋来“橄榄枝”，提出与宁波市演艺集团建立长期合作关系，并最终签订了战略合作协议。双方拟在舞台精品创作剧目、文化产业项目开发、结对帮扶惠民演出、区域市场开拓等方面开展深入合作，开辟“央地”长期可持续合作的全新模式，优势互补，共同发展。
舞剧《花木兰》就是双方的合作剧目，由宁波市演艺集团的歌舞剧院和中央歌剧院交响乐团共同演出。最初投资方湖北黄陂区政府提出花木兰题材，宁波演艺集团一度认为题材老套，迟迟没有签订协议，并多次奔赴北京召集主创团队反复研究，集思广益，最终从“和平女神”入手，架构起一个全新形象的“花木兰”。正是这种精益求精的艺术质量追求，让投资方十分满意，将原本的600万元投资追加至1000万元。在该剧的创排阶段，宁波市演艺集团专门从北京引进了20个新演员，形成优化的人才梯队。
《花木兰》由朱海编剧，周莉亚、韩真编导，杜鸣作曲，谭泽恩担任舞美设计，韩江担任灯光设计，王钰宽担任服装设计，贾雷担任造型设计师。这些国家一流的主创、精锐的优秀演员为该剧的艺术质量提供了坚实的保障。该剧先后亮相国家大剧院、第十五届亚洲艺术节和第四届世界互联网大会，受到中国舞协、中国音协、中国剧协等一大批专家及业内人士的高度评价，也成为地方艺术团体创作国内一流作品、走向主流剧场的有益探索。 寧波市演艺集团成立以来，先后20余次出访亚洲、欧洲、美洲、非洲、大洋洲等数十个国家和地区，在与国外演艺团队和艺术家建立良好联系的同时，探索借力国际资源，实施中国文化“走出去”战略。2014年，舞剧《十里红妆·女儿梦》赴美国演出前，宁波市演艺集团邀请美国编导到宁波对全剧作了适合美国市场要求的适应性改编，在美国纽约林肯艺术中心上演，取得极佳效果。2016年新创排的《霸王别姬》，主创阵容全部来自美国，开创了宁波舞台艺术作品“国外创作、国内制作”的先河。
探索地方文艺精品创作的新路径
德清拥有深厚的历史文化底蕴。如何把优秀的传统文化和经济、生态发展的成果以文艺作品的形式呈现出来，这是德清文艺创作的一个主要目标。但德清县内没有专业的院团，打造一支专业的文艺院团需要做大量的准备工作和时间、资金等投入。面对这一实际，德清县主动探索、实践新路径，以向专业文艺院团借力互补的方式，破解这一难题，打造出《德清嫂》《游子吟》《德清谣》等大型文艺作品和《拍电影》《捉放鸟》《老马不傻》等走进央视的小品节目。
德清县与浙江省越剧团、杭州越剧院合作，将德清的传统文化和道德文化以戏曲形式形象化。在合作过程中，德清与省市院团共同发力，取得不俗的成绩，实现合作多赢。对德清来说，文艺精品彰显了文化自信，结合“文化走亲”等活动，提高了德清县的知名度和美誉度。2012年，德清与杭州越剧院合作创排现代题材越剧《德清嫂》，两次走进国家大剧院演出，入选全国“五个一工程奖”，获省“五个一工程奖”、浙江省第十二届戏剧节“新剧目大奖”等奖项，累计演出200场。《德清嫂》已成为德清文化品牌。
在《德清嫂》《德清谣》《游子吟》等作品的展演方面，德清创造性地实行两套班底，即“明星班”和“草根班”。例如，《德清谣》的“明星班”由杭州广艺舞蹈团和上海鼓鼓文化艺术团构成，“草根班”由德清本土演员组成，在“明星班”的专业教授下，主要在全县文化礼堂巡演，满足农村百姓的文化需求。而《德清嫂》与《游子吟》则由县里的3个民营剧团组成“草根班”。演员来自不同的岗位，理发店老板、工厂女工、保险公司职员……她们不仅承担了《德清嫂》到乡村、社区的普及巡演，而且以德清人现身演唱德清事的方式，把公民道德文化建设的种子播种到各个角落，体现出以一个题材创作出一个精品，—个精品带出一支队伍的德清特色。
Zhejiang Theater Finds New Ways to Flourish
By Yi Zhang
Zhejiang used to be a powerhouse of regional operas， which catered to urban and rural audiences across the province in good old days. Nowadays， many opera troupes have vanished， some have flourished and some have been struggling. However， a new approach adopted by local governments and troupes is giving local theater a new boom.
Take a look at ， a Yueju Opera play inspired by and based on the namesake poem by Meng Jiao， a poet of the Tang Dynasty （618-907）. The play is a joint production of Deqing County （Meng Jiao was a native of Deqing） in northern Zhejiang and Zhejiang Yueju Opera Troupe. The cast includes artists from Zhejiang Yueju Opera Troupe and the production team includes top artists such as the scriptwriter Yan Quanyi， a professor with the China Theater Academy and the prominent theater director Yang Xiaoqing. On April 26， 2018， a performance of the play in Beijing brought down the house.
The production of the play was made possible by the new development mode now widely used in theater in Zhejiang. Regional opera troupes in Zhejiang want to create new plays and they have audiences， but lack resources to expand their repertoires. Local governments have funds to support cultural creativities and have ambition to tap into local cultural resources and bring entertainment to local communities. Some counties and cities no longer have an opera troupe but the traditional theatergoers are hungry for theater entertainment. These grassroots troupes don’t have top talents for creating top performances for regional， national and global audiences. On the other hand， provincial and national troupes seek funds and opportunities to serve grassroots markets. To solve their problems， regional governments and troupes first reached out to provincial and national troupes. In the past few years， there have been successful joint productions through partnerships of regional troupes， local governments， provincial and national talents and troupes. is not the first joint theater production on the part of Deqing County. The first was ， first staged in August 2012. It was a joint endeavor between Deqing County and Hangzhou Yueju Opera Troupe. Suichang County and Zhejiang Yueju Opera Troupe have partnered in creating . Tiantai County and Zhejiang Song & Dance Theater have jointly created an opera called . Ningbo Performance Group （NPG） has produced in partnership with the Central Opera Theater and Huangpi， a district under the jurisdiction of Wuhan City in central China’s Hubei Province.
As Yueju Opera is the largest regional opera genre in Zhejiang Province， Zhejiang Yueju Opera Troupe has played a leading role in this fruitful joint theater production mode. The troupe’s first joint production occurred in 2013. It was a partnership with Yuhuan County in the southeast of the province. The county government provided funds and support for scriptwriters to learn about local history， culture and people. The new play was called ， which caused a big stir among local audiences and won a national government award in 2014. With this successful experience， the troupe has created and performed plays in partnership with some more local governments.
If many joint productions in Zhejiang are between local governments and provincial troupes， then Ningbo Performance Group， founded in December 2011， is certainly different. It has wanted to be a big player on both national and international show market.
was a project the NPG did in partnership with Huangpi District. The district government in Wuhan approached the group and offered a budget of 6 million to produce a performance based on Mulan， presumably a native of Huangpi. The group hesitated， thinking wasn’t a fresh idea on the market. But the group didn’t give up totally. It sent its people to Beijing to meet talents based there. After a few brainstorm sessions， they envisioned Mulan not as a war hero but as goddess of peace. It was a fresh reincarnation of the young woman in the millennia-old folktale. The Huangpi government was excited and expanded the investment to 10 million. The play was a huge success. It has been performed at National Grand Theater in Beijing， the 15th Asia Art Festival and the 4th World Internet Congress in Wuzhen. Critics and professionals thought highly of the performance.
In fact， NPG has staged shows overseas in more than 20 countries. Its cooperation with overseas talents has been successful. In 2014， it invited an American team to adapt its show for the American entertainment market. The dance drama was staged at Lincoln Center for the Performing Arts in New York. The commercial American tour was a huge success. In 2016， NPG’s was reproduced by an all-American team.
Artists of provincial troupes and local troupes have benefited a great deal from such joint productions. Artists with the provincial troupes have won top national theater awards for their performances in such joint shows whereas local artists have learned a great deal. Take Deqing for example， the county has worked with professional troupes based in Hangzhou for three plays. The grassroots artists of Deqing had their own casts for the plays. On important occasions， amateur artist and professional artists from Hangzhou perform together. All-local casts perform at the grassroots level and cater largely to rural audiences from community to community across Deqing.