国家大剧院舞台艺术‘第二现场’
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海内外同赏 国家大剧院舞台艺术“第二现场”首次海外直播
Xin Lang Cai Jing· 2025-12-21 13:27
转自:北京日报客户端 12月20日晚,伴随着轻松欢快的音乐,国家大剧院制作雷哈尔轻歌剧《风流寡妇》在北京国家大剧院上 演。与此同时,远在马来西亚的观众通过超高清直播技术"同步共赏"这场艺术盛宴,国家大剧院舞台艺 术"第二现场"实现首次海外直播。 大剧院制作雷哈尔轻歌剧《风流寡妇》剧照。(国家大剧院供图) "将现场表演通过直播呈现给马来西亚观众,这种形式非常新颖,也让人享受。"马来西亚观众卡尔苏姆 兴奋地说。同场观众海伦认为,无论是舞蹈、歌唱,还是整体的舞台呈现都令人赞叹。"这是一场充满 热情与活力的演出,我们看到舞台上不同环节之间的互动也很有趣。"海伦说。 科技赋能艺术,成就一场跨越时空的艺术盛宴。据介绍,本次直播通过4K超高清+5.1环绕声技术,也 同时在全国各地上百家剧院、影院同步直播。 海内外观众在感受雷哈尔轻歌剧舞台魅力的同时,还可以通过"第二现场"导赏环节聆听《风流寡妇》唱 段亮点解读、跟随镜头一览台前幕后。"这不仅是观看一场演出,透过镜头还看到了很多平时在现场演 出中不一定能注意到的细节。"来自马来西亚的歌剧迷郑薪祥说。 来源:新华社 作者: 杨淑君 王嘉伟 图为国家 图为国家 大剧院舞台艺术"第 ...
国家大剧院“第二现场”再升级
Ren Min Ri Bao· 2025-07-25 20:23
Group 1 - The core concept of the news is the successful nationwide live broadcast of the opera "The Marriage of Figaro" using advanced 4K ultra-high-definition and 5.1 surround sound technology, marking a significant milestone for the National Centre for the Performing Arts' "Second Scene" project [1][2] - The live broadcast faced technical challenges due to the complexity of the opera, which has a score of 730 pages and nearly 3,000 precise camera transitions, necessitating a high level of technical execution [1] - The technical team developed a proprietary ultra-high-definition live broadcast system that ensures perfect synchronization of music and visuals, capturing every detail of the performance, including subtle expressions and costume textures [1] Group 2 - The "Second Scene" project has rapidly evolved from a trial phase to a mature operation within three months, aiming to redefine the boundaries of art dissemination through a model that integrates technology, quality content, and public benefit [2] - The unique commentary segment during the broadcast, featuring insights from professionals, has become a focal point of audience discussion, enhancing the overall experience [2] - A collaborative group was established to promote the ongoing development of the "Second Scene" project, with 35 theaters participating, focusing on resource sharing, standard setting, and optimizing business models for cultural consumption [3]