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一 |         中国知名战地记者、摄影师、作家唐师曾于8月23日在北京逝世，享年65岁。    

    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."
。    唐师曾1961年生于北京，祖籍江苏无锡。1983年毕业于北京大学国际政治系，随后进入中国政法大学任教。1986年加入新华社，担任摄影记者。

二 | 1990年，他深入伊拉克报道海湾战争，并于1991至1993年任新华社驻中东记者，采访过卡扎菲、阿拉法特、拉宾等多国政要。    离开新闻采编一线后，唐师曾将丰富的采访经历、摄影作品和个人思考陆续整理成书，《我从战场归来》《我钻进了金字塔》记述了他在中东做战地记者的传奇故事。他的文字犀利、观点鲜明、充满幽默感，深受读者喜爱。    1998年，他因被确诊再生障碍性贫血，入院接受骨穿等治疗。据相关报道，他的病情可能与海湾战争期间接触贫铀弹辐射有关。

三 | 尽管饱受病痛折磨，他依然继续行走世界，将生命中的所见、所闻与所思记录下来。    2000年，他再次深入伊拉克，记录后海湾战争时代的社会与平民生活，写成《重返巴格达》；2003年，他从北京驾车出发，穿越巴基斯坦、阿富汗、印度、尼泊尔等国，出版《一个人的远行》。    去现场，或许是唐师曾一生最鲜明的关键词。

四 | 从战地记者到旅行家，从新闻摄影到纪实写作，他始终以自己的方式抵达世界、观察世界，与真实的世界发生关联，并将那些稍纵即逝的人和事留存下来。    唐师曾离开了，但他走过的路、记录过的世界，依然能够给予后来者力量。文化编辑部精选9本相关书籍，让我们再次跟随他的脚步去认识世界，也重新走近这位“行者”丰富而充满传奇色彩的一生。    01        我从战场归来    唐师曾 著    长江文艺出版社 2013-11    《我从战场归来》是唐师曾最具代表性的纪实作品，记录了他作为战地记者深入1991年海湾战争前线的亲历过程。作为新华社驻中东记者，唐师曾亲赴伊拉克、约旦、以色列等地，在战火、空袭、戒严和难民潮中进行采访，把战争现场的恐惧、荒诞、死亡与普通人的生活直接带回读者面前。    02        我钻进了金字塔    唐师曾 著    长江文艺出版社 2013-11    《我钻进了金字塔》主要记录了唐师曾1991年至1993年担任新华社中东记者期间的见闻与经历。书中既有他采访卡扎菲、阿拉法特、拉宾等中东政治人物的经历，也有驾驶吉普车穿越沙漠、四进巴格达、亲历埃及地震、探访耶路撒冷，以及钻进胡夫金字塔内部等充满传奇色彩的故事。整本书的文字极具个人色彩，在生动、幽默的叙述中，呈现了一个中国记者眼中的阿拉伯世界。

五 |     03        重返巴格达    唐师曾 著    长江文艺出版社 2013-11    《重返巴格达》是唐师曾在海湾战争爆发十年后，重返伊拉克所写的纪实作品。书中再现了制裁与战争创伤下伊拉克民众的生存困境与社会百态。与前两本书偏重记叙不同的是，本书更多地反映出深刻的人文关怀，表达了对战争的反思与对和平的呼吁。    04        我的诺曼底    唐师曾 著    长江文艺出版社 2005-7    《我的诺曼底》是唐师曾创作的一部二战纪实作品。书中他亲自走访欧洲、中东、东南亚各地的二战战场遗址，通过历史资料、实地见闻和大量照片，重新追寻诺曼底登陆及二战的历史。这不是一部严肃的战争史作品，唐师曾以记者和旅行者的个人视角，将战争、历史人物与普通士兵的命运结合起来，在幽默甚至调侃的笔调中，表达对战争与和平的反思。    05        我在美国当农民    唐师曾 著    华艺出版社 2002-6    《我在美国当农民》是唐师曾的一部美国见闻作品，素材主要来自他1990年代中期在美国的生活和驾车旅行经历。

六 | 书名虽叫“当农民”，但唐师曾并没有真正务农，而是借美国农场为入口，开车横穿美国，观察美国社会、普通人的生活以及美国的制度与文化。    06        一个人的远行    唐师曾 摄影    中国人民大学出版社 2006-10    虽然出过不少书，摄影记者才是唐师曾的老本行。《一个人的远行》是他以“重走玄奘取经路”的经历为基础创作的一部摄影作品集。2003年，他独自驾驶吉普车从北京出发，穿越巴基斯坦、阿富汗、印度、尼泊尔等地，用镜头记录下一路上的自然、人文与社会景观。全书最大的特色是唐师曾只提供照片，而将解读照片的权利交给200多位不同领域的名人，因此本书既是个人的旅行记录，也成为一场唐师曾的摄影作品与他人的对话。    07        唐师曾：我说    唐师曾 著    中国人民大学出版社 2007-7    本书的内容主要整理自唐师曾在高校、网络节目、电台等场合的演讲、聊天和个人思考。相比他的纪实作品，这本书更直接地呈现了他个人的观点和独具特色的说话风格，是了解唐师曾性格、价值观和世界观的一扇窗口。

七 |     08        我第三个愿望    唐师曾 著    中国大百科全书出版社 2004-07    《我第三个愿望》是一部与唐师曾此前战地纪实风格截然不同的作品。书中他以自己的儿子为核心，记录妻子孕育、儿子出生及成长的过程，同时回溯家世、婚姻和个人情感经历。唐师曾曾许下三个愿望，“当好记者、娶好姑娘、生好儿子”，因此将书名定为“我第三个愿望”。

八 | 相比他笔下的战争与远行，这本书更多展现了他作为丈夫和父亲的私人一面。

九 |     09        唐师曾：从学生到英雄    萧乾 等 著    中国人民大学出版社 2006-10    本书是一部从“他者视角”还原唐师曾的成长与人生经历的作品。全书收录了萧乾、季羡林等三十多人的文字，以唐师曾的亲人、朋友、同事、学生和新闻记者的多重视角，展现了一个全面又立体的人物形象。    编辑 | 李俊浩    统筹 | 钱琪瑶返回，查看更多。

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