您的位置：首页 → 单机游戏 → 角色扮演 → 怪物猎人世界新装备介绍怪物猎人世界新装备新系统一览

国庆请假休29天

“三连板”楚天龙半年亏超6000万元亏损同比扩大_我的网站

刑事侦缉档案4

一 |

Acrobat Bing Bing backstage at a scenic spot in Beijing Photo: Courtesy of Bing Bing Acrobat Liza performs an aerial acrobatics routine. Photo: Courtesy of Liza

Acrobat Bing Bing backstage at a scenic spot in Beijing Photo: Courtesy of Bing BingAt an amusement park in Beijing, a young female clown tossed an apple into the air several times, catching it each time and taking bites out of it along the way. The seemingly simple routine delighted visitors, many of whom pulled out their phones to film it. Videos of the act have garnered more than 6 million likes on Douyin, China's version of TikTok.
Bing Bing, a young acrobat born in the 2000s, told the Global Times that she first tested the "tossing and eating an apple" routine through short videos before taking it to the stage. After her first performance, she spent the holidays performing it, adjusting the movements and pacing based on how audiences responded.
"Performance is the hardest thing to master. Your facial expressions and body movements have to convey to the audience what you are doing and what you want to do," she said. "The goal is to make them know that you are performing, yet still find it entertaining."
According to Bing Bing, the training behind such performances is far less glamorous than the finished act suggests. "Training is very repetitive. You fail, repeat, fail again, succeed and then fail again," she said. "Practice is what turns quantity into quality, even facial expressions and body movements require deliberate practice."
For Bing Bing, however, mastering the routine is only one part of the job. Once performers step in front of an audience, the carefully rehearsed movements have to adapt to a live and unpredictable setting.
Beyond the theater
In recent years, acrobatic performances have increasingly moved into aquariums, theme parks and cultural tourism venues, where audiences themselves become part of the performance rather than simply watching from fixed seats.
Bing Bing previously performed alongside other clowns at an aquarium, inviting visitors to participate in the act. She said the difference is not merely a change of venue: performers have to constantly interact with the people in front of them.
"Traditional stages are farther away from the audience and are better suited to performances that people simply watch," she said. "Aquariums and theme parks, however, place greater emphasis on interaction and connection with the audience. Even with the same routine and interactions, you can often get unexpected results."
That interaction also changes how performers think about rhythm and presentation. A routine that works in a theater cannot necessarily be transferred unchanged to a tourist attraction, where audience reactions, distance and participation can all alter what happens on stage.
Sun Dawei, head of the Wuqiao Acrobatic School, told the Global Times that this shift is also changing the industry's approach to production.
"Acrobatics used to focus mainly on showcasing skills. Now there is greater emphasis on story-telling and emotional expression," he said. "Performances are no longer confined to theaters, but are increasingly staged as resident shows at cultural tourism venues."
According to Sun, a production usually begins with a theme, followed by the selection of appropriate skills. Performers then refine the routine repeatedly before adding music and stage design and going through multiple rehearsals.
"Traditional signature skills and core fundamentals must be preserved," he said. "Content that simply pursues danger or no longer fits contemporary aesthetics needs to be repackaged. Traditional skills should be given new forms of expression while retaining their roots and appealing to modern audiences."
For Bing Bing, this shift has also been made possible thanks to short-video platforms. Her apple routine gained its first wide exposure online before audiences encountered it in person.
"Short videos have helped more people learn about Chinese acrobatics and traditional culture, and encouraged more people to go to theaters and watch performances offline," she said.
The growing visibility of acrobatics online, however, has raised another question: once traditional skills enter new venues and digital platforms, how can performers avoid simply repeating familiar formulas?
Acrobat Bing Bing backstage at a scenic spot in Beijing Photo: Courtesy of Bing Bing Acrobat Liza performs an aerial acrobatics routine. Photo: Courtesy of Liza

Acrobat Liza performs an aerial acrobatics routine. Photo: Courtesy of LizaBreaking the formula
Russian aerial acrobat Liza, who has lived and worked in China for more than seven years and now performs regularly at Shanghai Qianguqing, a large-scale cultural tourism attraction featuring live performances, noted that the answer lies in how a show is constructed as a whole.
"A performance should start with an overall concept, and then you choose the props and music around it. Music itself can guide the choice of movements, provided the performer already has a solid technical foundation," Liza told the Global Times. "The transitions between movements have to be natural and smooth, like telling a story step by step. Costumes are also important because they complete the character. Everything needs to work together."
For Liza, technical difficulty should serve the performance rather than become the performance itself.
"Real professionalism means making the audience unable to see how hard you are working. Everything should look effortless," she said. "I value beauty and precision in movement. You should not make things more complicated simply to show off your skills. You should improve steadily as you grow as a performer, rather than constantly chasing greater difficulty."
She said that this is particularly important as increasingly extreme acts, including hair- and tooth-hanging, attract attention online.
"Most performers are following established templates, and I rarely see people creating something that is truly their own," Liza said. "You can find your own style and way of expression without taking excessive risks."
From an apple-tossing routine that drew more than 6 million likes to performances in aquariums and cultural tourism venues, traditional acrobatics is finding new ways to reach audiences. But bringing an old art back into the spotlight is not simply about making tricks harder or more spectacular. As Bing Bing's apple routine shows, sometimes it takes a familiar skill presented in an unfamiliar way to make a new generation stop and watch again.
。

二 | K图 003040_0 　　【导读】楚天龙上半年业绩亏损同比扩大　　8月25日晚间，近3个交易日收获“三连板”的楚天龙（证券代码003040）披露2026年半年度报告及终止定增事项公告。　　半年报显示，楚天龙上半年实现营收3.19亿元，同比下降30.21%；归母净利润亏损6212.42万元，上年同期亏损3976.88万元；扣非归母净利润亏损6568.50万元，上年同期亏损4132.86万元。　　分季度看，公司一季度净利润亏损约0.12亿元，二季度亏损约0.5亿元，环比持续恶化。　　分产品线来看，公司核心业务全线承压：嵌入式安全产品实现营收2.64亿元，占营业收入的82.72%，同比下降28.45%；智能硬件实现营收2108.96万元，同比下降53.20%；软件及服务实现营收912.25万元，同比下降72.47%。　　资料显示，楚天龙是一家专注于数字安全与数智服务综合解决方案提供商，公司产品与服务主要包括以智能卡、多形态数字人民币硬钱包、eSIM等为代表的嵌入式安全产品，以及面向行业应用的智能硬件、以智慧档案及社保“一卡通”平台为主要内容的软件及服务。　　对于业绩下滑，公司在半年报中表示，报告期内主营业务面临供需两端的双重经营压力。需求端，受市场竞争加剧影响，部分嵌入式安全产品价格及数量下降，导致营业收入同比下滑；供给端，全球半导体原材料价格持续上涨、晶圆制造及封装测试环节成本不断攀升，公司难以将产品降价压力向上游传导，致使营业成本降幅低于营业收入降幅，综合毛利率呈下降趋势。　　惨淡的经营业绩之下，楚天龙二级市场表现却极为强势。8月21日、8月24日、8月25日，公司股价连续3天涨停。截至8月25日收盘，公司股价报15.48元/股，总市值达71.38亿元。　　股价暴涨的背后，是数字人民币概念的热度升温。8月17日，央行宣布数字人民币运营机构扩容至30家，板块集体异动。8月25日，数字人民币概念股上涨2.42%，楚天龙领涨板块。

三 | 不过，公司8月24日晚间发布的股票交易异常波动公告中明确提示：关注到近期市场对数字人民币关注度较高，近年来公司积极探索并推动数字人民币相关业务拓展，目前相关业务收入占公司营业收入的比重较小，未达5%，部分项目及产品的应用场景、市场规模仍存在不确定性。　　同日晚间，楚天龙发布公告称，终止2026年度向特定对象发行A股股票事项。

四 | 回溯来看，公司于2026年2月9日召开第三届董事会第十二次会议，审议通过定增相关议案，预案于2月10日披露；2月26日召开的临时股东会审议通过相关授权议案。　　根据预案，公司拟定增募资不超过7.6亿元，募资净额将用于创新应用安全产品研发及产业化项目、面向行业应用的智能硬件建设项目、数字化运营总部及研发升级建设项目及补充流动性资金。　　对于终止原因，公司表示自启动发行工作以来，董事会及管理层会同相关各方积极推进各项筹备工作，经与保荐机构及相关中介深入沟通，综合考量公司未来发展规划等情况，决定终止本次发行事项。该事项已于8月24日经第三届董事会第十五次会议审议通过。