What brought them together is a shared love for musical theater and the shared platform of the Internet. They have sub-groups that devote themselves to the musical repertoires of specific countries. They post their lyric translations, singing samples and original scripts for feedback. Their translation is of such a high level that it often stands out when used as projected titles in the China tours of Western companies such as Mamma Mia.
They may be connoisseurs, but they are amateurs, and few would believe they could deliver a performance that rivals, let alone surpasses, professionals.
In China, writers and artists have circles. You have to be an insider to get recognition, or a government subsidy. But it's often the outsiders who have out-of-the-box thinking and achieve major breakthroughs. Some who show enough respect may be enlisted once they have street credibility, such as Li Yugang, who sings both male and female voices to perfection; others, like Han Han, remain defiant and reject the rebel-and-join route.
When it comes to performing arts, we have a tradition of top-down creativity. Government agencies set an agenda and artists write plays and operas in that image. These lavish productions do not attract paying audiences, so one or two token shows are given - all subsidized by the government and recorded as a feat of cultural innovation. Then the props and costumes are warehoused and may never see the light of day again.
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