Opening the way for the stage to reach the public.

Despite numerous large-scale competitions and festivals, and new plays constantly being launched each year, Vietnamese theater is still struggling to find an audience. The reason for this is that relevant authorities have not yet built a strong enough bridge to connect with the public in a rapidly changing media environment.

A scene from the short play "The Story of Ms. Tin's Family" performed by the Vietnam National Drama Theatre at the Ho Chi Minh Museum. (Photo: THUONG NGUYEN)

In 2025, four professional theater festivals will be held in Vietnam, attracting the participation of more than 60 domestic and 8 international art troupes, with 87 outstanding performances, of which nearly 40 will be selected to receive Excellence Awards, Gold Medals, and Silver Medals.

These figures show that the theatrical landscape remains constantly evolving, yet it's easy to see that behind this superficial vibrancy lies a vast gap between the stage and the audience. This is especially true when, in reality, some works are highly regarded by experts for both their content and artistic quality, but lack market appeal; many plays that succeed on major stages are shelved after only a few performances.

One of the reasons cited is a "bottleneck" in communication and promotion. While many other forms of entertainment have long recognized communication as an inseparable part of their products, accompanying them even before they are finalized, many theater companies still maintain the mindset of promoting only after the production is complete, or only considering communication when there is surplus budget. This causes many theatrical works to miss opportunities to reach audiences from the outset, failing to cultivate public curiosity and anticipation.

Furthermore, many organizations lack specialized personnel in communications, largely assigning this responsibility to office staff and performance organizers, resulting in superficial and unprofessional communication to the public. According to People's Artist Le Tien Tho, former Chairman of the Vietnam Association of Stage Artists, in a market economy, theatrical works are considered a kind of "special commodity." Without proper investment in promotion, this "commodity" will easily be lost amidst the "sea" of information from popular shows and other diverse forms of entertainment.

It is this pressure from reality that forces the theater to adapt. Recently, several organizations have proactively sought new communication methods to enhance public reach and expand their audience base. A prime example is the Youth Theater – an artistic organization that has consistently remained active despite the challenging circumstances facing the theater scene.

Meritorious Artist Cao Ngoc Anh, Deputy Director of the Theater, said: "We always try to schedule performances for the whole year and design posters early with full repertoire, program names according to seasons and holidays, etc., conducting comprehensive communication to the right audience through channels such as Facebook, website, TikTok, and even creating separate Fanpages for each play so that audiences can easily access information. In addition, the Theater promotes relationships with partners through organizing customer conferences, marketing, direct announcements via telesales system and email; implementing online ticket sales, helping customers easily choose plays and performance schedules according to their individual or group wishes."

In particular, some performing arts organizations have proactively partnered with media and technology companies to gradually build a digital ecosystem to reach audiences. Recently, the Vietnam Circus Federation launched a cooperation program with VTC Multimedia Corporation to develop an electronic ticketing system, online payment, and communication on digital platforms. This model not only helps audiences directly access information about programs and performances, but also allows them to book tickets and choose seats conveniently, thereby optimizing performance organization. The Federation also mobilizes journalism students to enhance communication on digital platforms with short videos and creative content to spread the art of circus and attract young audiences.

According to People's Artist Tong Toan Thang, Director of the Vietnam Circus Federation, the stage can no longer wait for the public to come to it; it must proactively seek out viewers. These are strategic steps to bridge the gap between circus art and the public, gradually integrating circus into the cultural industry. Recently, the Vietnam National Drama Theatre worked with NetSpace Technology and Communication Joint Stock Company to discuss the application of technology and digital media in the performing arts. The two sides focused on creative communication solutions to attract young audiences, build brands for artists and the theatre, and utilize digital media channels to spread the value of theatrical art.

Notably, beyond digital promotion, some organizations are proactively taking art out of the confines of the stage to larger spaces, reaching a wider audience and more tourists. Recently, the Vietnam National Drama Theatre organized a program presentation.

“Uncle Ho – A Boundless Love” includes short plays about Uncle Ho at the Ho Chi Minh Museum. The Vietnam Puppet Theatre, in collaboration with Area 75 - Art & Auction, launched the art space “Long Thanh’s Shadow” at 75 Hang Bo Street ( Hanoi ). Prior to that, the Cai Luong (Vietnamese traditional opera) troupe (Vietnam National Traditional Theatre) performed the play “Sweet Starfruit Branch” at the Cultural and Arts Center No. 22 Hang Buom Street (Hanoi)… These are a series of commendable efforts, not only contributing to a new impetus for the stage, but also suggesting directions that should be replicated to bring the stage closer to the audience.

For a long time, there has been a symbiotic relationship between the stage and the audience. The stage only truly "lives" when there are people to enjoy it. Therefore, in the context of fierce competition in the entertainment market, media has become an increasingly crucial tool for transforming theatrical works into marketable products.

According to Dr. Mai My Duyen (a member of the Vietnam Association of Theatre Artists), this is the time for theatre organizations to strengthen multi-channel marketing, using digital platforms to promote excerpts, behind-the-scenes stories, and stories about artists; bringing performing arts "to the streets" to reach audiences in a more natural and intimate way; and simultaneously developing art-experiential tourism tours combined with visits to historical sites and scenic spots, turning theatre into a valuable cultural and tourism product. By mastering communication tools and knowing how to promote works systematically and correctly, theatre can confidently accompany audiences in the flow of life today.

TRANG ANH

Source: https://nhandan.vn/mo-loi-de-san-khau-tiep-can-cong-chung-post959512.html