(Ecns.cn)--"Offbeat" is a word that often comes to mind when referring to China's private theaters and the plays staged in them. Since its inception, this kind of performing art has been regarded as decidedly non-mainstream, especially in a country where people are accustomed to seeing performances in large State-owned theaters.
But in recent years, the status of private theaters has begun to change. More and more people, especially young ones, are preferring the intimacy and social immediacy of private theaters.
Government-backed institutions have also drawn attention to this developing art form and have begun to provide opportunities for its development.
On March 22, supported by the Beijing Cultural Bureau and the Beijing Dramatists Association, a press conference was held for a selection of plays set to debut in Beijing's private theaters.
Those 12 original productions were eventually performed from April 13 to July 3, providing not only a feast for audiences, but also establishing a broader platform for the art.
A youthful trend
In 1981, director Lin Zhaohua staged a play called "The Absolute Signal" in Beijing, starting the development of private theater in China.
In the mid 1990s, original plays like "Balcony" and "Rooftop" directed by pioneers Meng Jinghui and Tian Qinxin set off a wave of further achievements.
Even though they had rarely been heard of until 2002, the first private theater "Xi Xiaotang" was formed, which helped break the traditional idea that only in State-owned theaters could people watch plays and dramas.
Xi Xiaotang created a new perspective and provided working opportunities for young playwrights, directors and actors who had graduated from drama school but failed to find work in State-owned drama troupes.
"With lower ticket prices, private theaters like Xi Xiaotang invited ordinary people, and carved out a new way for people to appreciate the art form," said an official from the Beijing Dramatists Association.
In 2003, the private theater "Ma Hua" launched its first play "Ma Hua 1," an easy-going and comedic look at modern urban youth which was warmly welcomed by audiences when it debuted.
The success of the play brought new hope to the private theater, and soon after Ma Hua created a sequel, which also became a hit.
"At least 10 million people have seen 'Ma Hua' via different media or theaters. The series has a fan group of 100,000 people, and many applied for memberships at theaters to see it," said He Yi, the series producer.
"To go and watch 'Ma Hua' used to be a trend for young people in Beijing," said a fan.
Because the writers, director and actors of the play were all young people, it struck a chord with young generations.
Unlike large theaters, a production's lifespan at a private theater is shorter, which helps it focus more on the latest events and people. Reflecting real life immediately is one way private theaters achieve success.
