10月1日开幕的第九届"金玉兰"上海国际木偶艺术周以双会场联动、辐射社区商圈的模式，通过50 余场密集的国际偶戏展演、浦东炫偶嘉年华等亮点活动，打造"可观、可玩、可购、可享"的综合性城市 艺术盛会，活动覆盖约5万人次。 位于人民广场核心商圈的仙乐斯木偶剧场连续8天推出超过20场国际精品偶戏剧目。"我们特意在假 期看木偶戏"。一位带着孩子前来观演的家长说，"这些外国剧目难得一见，小朋友很感兴趣"。中国木 偶皮影艺术学会会长、联合国教科文组织国际木偶联会中国中心主席陈向红感叹："上海国际木偶艺术 周不仅成为常态化国际交流平台，也让木偶艺术逐步惠及更多群众。" "《耋戏生》长假期间平均上座率超90%，我们和周围超20家店铺票根联动，带动商圈人群消 费。"作为上海首个沉浸式园林实景音乐剧，《耋戏生》于长假期间在具有三百年历史的商船会馆连演 14场。工作人员介绍，每场《耋戏生》前，他们都在会馆外的口袋公园表演非遗戏曲30分钟，吸引市民 游客超千人。 走进商船会馆前，《耋戏生》观众在AI换装交互机中扫描样貌并自动生成剧中年代服装，带着属 于自己的年代形象与剧中角色一同入戏。走出会馆，观众凭借《耋戏生》演出票根，在附近绿地 ...

Core Viewpoint - The article discusses the evolving landscape of Chinese drama series, particularly focusing on the performance and influence of leading actresses like Liu Shishi, and how their roles and the production dynamics affect the overall reception of the shows [1][3][24]. Group 1: Performance and Role Dynamics - Liu Shishi's portrayal in "Huai Shui Zhu Ting" showcases a blend of various acting styles, reflecting a multi-faceted performance that combines elements from different popular characters [8][10]. - The article critiques the trend of leading actresses having excessive control over their roles, which can lead to a disconnect with the audience and a decline in the quality of the production [5][23]. - The concept of "Tian Xuan Gu Ren" (heavenly chosen ancient person) is discussed, highlighting how the perception of actresses has shifted from their acting skills to their physical presence and demeanor [14][16]. Group 2: Audience Reception and Critique - The audience's mixed reactions to "Huai Shui Zhu Ting" indicate that while there is a viewership, the critical reception has been less favorable, drawing comparisons to previous works like "Ru Yi Chuan" [3][24]. - The article suggests that the overemphasis on aesthetics and personal interpretation by actresses can detract from the narrative and character development, leading to a lack of resonance with viewers [18][23]. - The production's failure to connect with the audience is attributed to a lack of respect for professional input and an over-reliance on star power, which can result in a superficial portrayal of characters [24][25].

Core Viewpoint - The short drama "Afternoon Rose," starring 59-year-old Li Ruotong, has gained significant attention by outperforming many traditional TV dramas in viewership ratings, highlighting a growing trend in the short drama industry [1][2]. Group 1: Overview of "Afternoon Rose" - "Afternoon Rose" focuses on the theme of middle-aged women returning to the workplace, depicting the protagonist's journey of overcoming challenges to realize her self-worth [2]. - The drama consists of 16 episodes, each lasting less than 4 minutes, and airs two episodes daily [1]. - During its broadcast, "Afternoon Rose" surpassed the viewership ratings of several long-running dramas, including "Datang Rongyao" and "Jiuchongzi" [2]. Group 2: Industry Trends - The short drama sector is experiencing rapid growth, with notable stars like Liu Xiaoqing and Shu Chang also entering this space [12][15]. - The market size for micro-short dramas in China reached 50.5 billion yuan in 2024, surpassing the box office revenue of films for the first time [18]. - Major video platforms like Tencent Video and iQIYI are shifting their budgets to invest 10%-20% in short drama development, indicating a strategic pivot towards this format [16][17]. Group 3: Regulatory Environment - Recent regulatory measures have been implemented to address concerns over inappropriate content in micro-short dramas, with platforms like WeChat and Douyin taking action against non-compliant works [20]. - The National Radio and Television Administration has issued guidelines emphasizing that micro-short dramas should be relatable and grounded in reality, discouraging excessive sensationalism [21][22].