About becoming a theater. What are the requirements? And what facilities are needed. I know, man. Tell me. thank you

The South Bank of London used to be a poor community. After World War II, Britain proposed universal welfare, universal education and universal art, so London South Bank Center was built on this 2.7-hectare land. Jude Kelly, the artistic director of the center, believes that art institutions are not only temples of culture, but also have the responsibility to provide a platform for creative people to express their dreams. Like the free market, the theater should be a place where ordinary people are used to going every day, not a temple. In the visual planning of Sydney Opera House in Australia, art popularization education and public performance are essential links. Richard Evans, CEO of the Theatre, said that in addition to promoting high-end international performing arts productions and top concerts, the Sydney Opera House paid more attention to the popularization of art among ordinary people, especially children, and extensively sought social sponsorship and cooperation. Facing all levels of society rather than high-end, a large number of products are launched, facing a diversified audience, so that the venue can meet the needs of all kinds of artists and audiences. Pan Chuanshun, CEO of Singapore Binhai Center, believes that the art center plays an important role in shaping cultural identity. "We need to develop local art groups, have their own music and make their own voices. There are both traditional appreciators and modern audiences, artists and performing groups. What art centers and theaters have to do is to provide space for them. " Pan Chuanshun said. To this end, they organized local audiences to participate in theater performances and experience the process of artistic creation; Bring works of art to the community and combine them with daily festivals; They also set up regional platforms for various performances to deepen cultural understanding between countries. Pan Chuanshun advocates that Asian theaters should not only stage western classic works, but also have the responsibility to stage local new works, and strengthen the "Asian voice" through the interaction and cooperation of artists from Asian countries. The National Centre for the Performing Arts has been exploring the management mode for eight months. Chen Ping, president of the National Centre for the Performing Arts, said that the National Centre for the Performing Arts adheres to brand management and reflects the mainstream orientation; Adhere to professional management, and constantly improve the specialization of management, the refinement of management and the humanization of service; Adhere to the low-price strategy, solve the contradiction between public welfare and profit-making, establish an independent ticketing marketing system, and carry out industrial operation; Provide professional and high-quality services around performing troupes and audiences; Focus on performance, pay attention to relevance, introduce master classes and open rehearsals, and let elegant art approach the public; The National Centre for the Performing Arts (NCPA) not only devotes itself to the construction of the National Performing Arts Hall, but also undertakes the powerful function of popularizing art education. Since its operation, it has designed diversified and all-round art education. The National Centre for the Performing Arts also shoulders the mission of promoting the production of original art, aiming to become a leader in cultural and creative industries. Standing at the intersection of the establishment of Shanghai Grand Theatre 10 anniversary, Fang Shizhong, the director of the theatre, can easily think of the future of the theatre. He agrees with Yu that the Shanghai Grand Theatre is not only the window of the city, but also the function of the theatre is not limited to displaying an art institution-the Grand Theatre. It is the center of creation and participation and the core of cultural creativity. Having made this clear, their future development ideas and plans will be clearer. In the "new decade", Shanghai Grand Theatre takes "innovation" as its mission, takes the 20 10 Shanghai World Expo as an opportunity, gives full play to its brand advantages, gathers outstanding troupes and talents, participates in original works, and presents a more dynamic and creative grand theatre for Shanghai. Breaking through the concept of "one-time completion" of a theater Richard Evans believes that in the actual management and operation, it is necessary to break through the concept of "one-time completion" of a theater and regard the expansion of theater hardware facilities and functions as a long-term dynamic process. For example, the Sydney Opera House is still building new theaters and developing new functions through continuous construction. Only by meeting the growing needs of the vast majority of people can the theater continue to prosper in the cultural continuation of the city. Richard Evans admitted that the Sydney Opera House is also facing enormous challenges, the most important of which is the cash flow of core operating projects. As the only national theater in Japan that integrates opera, ballet, modern dance and drama performances, Tokyo New National Theater presented 33 programs and 269 performances in the performance season of 2007-2008, and the number of ticket buyers reached 6.5438+0.8 million. Hiro Tsunoda, executive director of the New National Theatre, said that the future task of the theatre is to establish a sound financial foundation first, because the government investment is gradually decreasing at a rate of 4% every year, which requires increasing ticket income, social donations and reducing costs to achieve financial stability. Secondly, the programs produced will tour the whole country and even overseas, and they will cooperate with other theaters. Strengthen the artist training program. At present, the theater has an opera studio, a ballet school and a drama studio, so that students can accumulate enough practical performance experience. Metropolitan opera has a history of 125 years. There was no publicity before, and the cinema was full, but since 2002, the box office performance has been declining. In 200 1 year, the average age of the audience in this cinema is 60 years old, and then it increases by one year every year, and fewer and fewer young people come to the cinema. In view of this situation, Peter, the general manager of the theater, put forward a series of reform measures after taking office. Park Ailian, deputy general manager of metropolitan opera Communication Editor and Creativity, said that in terms of art, the theater invited a conductor who had never participated in an opera performance before, and reached a long-term cooperation intention with famous singers to attract more young audiences. At the same time, a series of public welfare activities such as the Opera Open Day are gradually attracting young people, allowing more ordinary people to accept opera and change their lofty image. Make full use of modern media, when the newly-produced opera "Madame Butterfly" was staged in 2006, it was broadcast live on the big screen of Times Square in new york for the first time, and a large number of citizens came to watch it early. Moreover, metropolitan opera has created a brand-new brand through brand-new design, giving people a more modern feeling. For example, the theater logo that has been used for many years will be replaced by the popular minimalist design, and photographers of clothing magazines will be hired to shoot promotional materials and launch a large number of performance posters suitable for young people's appreciation habits; Advertisements are placed at various points and websites in the city center, and colors and designs are boldly used in theater advertisements to attract young people and greatly improve the public image; Transform the theater landscape to make it more open, so that people can approach at will and feel the art; Combine contemporary art, open a gallery and display it in the hall or other places; Organize internal reporters, communicate with the media, set up internal blogs and show the cinema dynamics to the public. Metropolitan opera has a long tradition of radio performances, with more than 20 performances every year. More and more new media technologies are used to establish satellite TV channels. Four live performances are broadcast every week, and a large number of archived programs are broadcast by radio. In recent years, high-definition communication in metropolitan opera has become an important way for the public to enjoy opera. At first, it only involved Canada, the United States, Mexico, Argentina and other countries. Now it is almost all over Europe, and it is also involved in Asia, South Africa and Australia. People like this way of watching opera in the cinema.