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Out-of-work Chinese actors turn to theme parks as immersive characters after AI squeezes short-drama jobs_我的网站

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在此前接受采访时，皇家社会中场苏契奇表示皇家社会在自己看来是一个中游水平，不算太高的平台，并表示自己下一步准备去世界上最大的俱乐部踢球。

不过由于苏契奇过于直白的表述，部分皇家社会球迷对他感到非常愤怒。    

    Chinese actress Luo Xinyuan played Huang Rong, a beloved wuxia heroine, at Hengdian World Studios. Photo: Courtesy of Luo XinyuanAs China's once-thriving live-action short drama industry looses speed due to the weight of AI-generated content and shrinking investment, a growing number of young actors who once starred in micro-dramas are moving to a different kind of stage: playing roles at cultural tourist attractions. 
There, they play martial arts heroes and folk characters for live audiences, finding steadier income and real-time connection with viewers. 
"Earning a living with your own hands is nothing to be ashamed of," actress Luo Xinyuan told the Global Times, even as many still hold out hope, waiting for good scripts.
The migration reflects a stark reality. In the first quarter of 2026, AI micro-dramas accounted for more than 95 percent of all micro-dramas released industry-wide, sharply squeezing the space for live-action productions. 
By July, pay for leading actors had shrunk by over 50 percent, mid-tier actors by more than 80 percent on average, and daily wages for bottom-rung extras had fallen into double digits, China's CCTV reported.
Luo, a 21-year-old actress, experienced the downturn firsthand. She came to Hengdian, China's largest film and television production base, to shoot short dramas. "When I first arrived, there were many crews preparing in one hotel. Now sometimes there are only one or two, or none," she told the Global Times. 
This May, she began playing the role of Huang Rong, a beloved wuxia heroine, at Hengdian World Studios. Her daily routine includes interactive stage competitions, parades and live audience interactions, working nearly 13 hours daily during the peak summer season.
"It's tiring but fulfilling," Luo said. "There are no scripts here. It's more about playing with visitors face to face." The change has eased her anxiety. "When I was filming, I kept worrying about the next job. Now I feel more stable."
Yin Jiaxuan, 25, took a different route. He started his career as a professional character performer at major theme parks, starring in immersive shows based on popular game and film IPs before transitioning to short dramas and online movies in mid-2024. 
At the industry's peak, he moved seamlessly between sets. 
"One crew wrapped, and the next was already arranged. I'd go straight to makeup the next day and start filming the day after," he said. Now he keeps both identities, taking film roles when they come and returning to scenic spots during holidays.
Yin rejects the stigma that screen acting is the only proper path. 
"Screen acting is seen as the professional main road, while street-level performance is treated as amateur work. This invisible prejudice has trapped many performers," he said. Yet the tangible stage offers something the camera cannot. 
"Performance comes from life and is higher than life - that is the core of film creation. But now I realize that beyond artistic expression, performance is about building human connections."
Both actors shared that theme park characters must do more than act; they must draw tourists into the scene, delivering emotional value on demand. Visitors come to the scenic spot not just to sightsee, but "to step into a fantasy."
    Yin Jiaxuan Photo: Courtesy of Yin JiaxuanScenic areas are reaping the benefits. Media outlets have reported that in Kaifeng's Wansui Mountain Martial Arts City, Central China's Henan Province, tourists who interacted with these characters stayed an average of 2.3 hours longer per day. 
Every extra 30 minutes of stay raises the probability of secondary consumption by about 25 percent, according to local data. Revenue jumped from about 80 million yuan ($11.86 million) in 2022 to 1.27 billion yuan in 2025. 
While Hengdian World Studios has used characters to boost repeat visits, with annual pass holders returning multiple times "for a specific character."
Cultural scholar Yu Jinlong told the Global Times that the influx of trained actors is upgrading immersive tourism. 
"In the past, theme park characters were mostly amateurs doing costume photos. Now professional actors can build complete characters, improvise and connect storylines, turning scenic spots into open-air theaters," he said. 
Yu pointed out the uniqueness of China's character boom compared with global immersive entertainment. 
"Unlike Western theme parks that rely heavily on mature imported IPs and standardized performances, China's scenic character culture is rooted in local wuxia (martial hero) history and folk customs, encouraging personalized improvisation. Many local scenic spots create hit immersive projects with small investments, forming a unique online-offline communication loop via social media," Yu said. 
As China's cultural consumption shifts from sightseeing to participation, Yu said the young actors swapping short drama sets for scenic spots may be shaping a new hybrid career for the country's entertainment workforce.
For Luo, the recognition from visitors is a reward in itself. 
"There are tourists who travel from far away just to see my performance. It feels good to be recognized," she said. "Actually, I'm still exploring too. But I think you should do what you love, as long as you have the ability."
。近日，苏契奇就此事向皇家社会球迷致歉。

此前在接受采访时，苏契奇表示：“去年我收到了很多邀约，有些球队工资开得比皇家社会高，有些球队档次比皇家社会高，但我都拒绝了。在我看来，最重要的不是俱乐部有没有钱，档次高不高，而是俱乐部会不会培养年轻球员，我能不能得到机会。”

“我之前在欧战赛场和皇家社会交过手，当时我就觉得如果有机会，我希望能加盟这支球队。结果没想到皇家社会真的送上邀约了，所以签约很快就顺利完成了。”

苏契奇此前在接受其他媒体的采访时就曾谈论过跳板论，在这次采访中再被问到时，苏契奇同样毫不讳言。

“在我看来，皇家社会是一个中游水平，不算太高的平台。我准备在这里好好表现，然后为下一步——去世界上最大的俱乐部踢球做好准备。当然，想要继续跃升首先我得在这里踢好球，我也没打算在这里只踢一年就走。只要我还在皇家社会踢球，我就会全力以赴。

二 | ”

不过在采访发布后，苏契奇无论是在球场内还是球场外都感受到了皇家社会球迷的怒火，因此他主动出面道歉。

苏契奇说道：“正如我在采访中所言，皇家社会是一家伟大的俱乐部，只要我还在这里，我就会全力以赴。无论是作为一个人还是作为一名球员，我都可以在这里继续成长。有些球迷看到采访之后在网上骂我，在场上嘘我，这样踢球很不容易，但也算是我自食其果。

三 | 我必须向球迷们道歉，我不是故意要这样说的。

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Published on:20:33:53