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2026年上半年京津冀经济总量同比增长5.1%_我的网站

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    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 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.
。    新华社北京8月19日电（记者吉宁）记者19日从京津冀协同发展统计监测办公室了解到，2026年上半年，京津冀实现地区生产总值6.0万亿元，按不变价格计算，同比增长5.1%。

二 | 京津冀全域面积21.6万平方公里，常住人口超1亿。地域毗邻、人文相亲的区位禀赋，为三地深度融合、协同共进筑牢根基。数据显示，今年上半年，京津冀区域实现服务业增加值4.3万亿元，同比增长5.8%，三地分别增长6.1%、5.5%和5.5%。高端制造表现活跃，京津规模以上高技术制造业分别增长15.7%和8.7%，京冀规模以上工业战略性新兴产业分别增长12.8%和10.9%。首都都市圈建设纵深推进，三地紧抓北京（京津冀）国际科技创新中心扩围契机，持续推动科技创新和产业创新深度融合。今年上半年，天津规模以上智能机器人产业链工业增加值增长18%；保定·中关村创新中心新增签约企业34家，电力与新能源高端装备、新一代信息技术、生命健康等三大主导产业集聚度超75%。天津来自京冀的产业项目到位金额1155.3亿元，同比增长16.6%，占全部产业项目到位金额的55%。今年上半年，雄安新区央企总部、高校、医院等疏解项目加快落地和运营，固定资产投资（不含农户）同比增长10.3%，截至6月底，汇聚69家空天信息领域企业、9个创新平台；集聚稳准智能、华清智言等96家人工智能企业，研发近30款大模型。民生保障亮点颇多。今年上半年，京津冀三地居民人均可支配收入分别为47290元、30581元和18801元，同比分别增长4.8%、4.8%和5.7%。

三 | 农村居民收入增长继续快于城镇居民，城乡居民收入比继续缩小。教育、医疗协作持续深化，北京大学人民医院石家庄医院会诊转诊服务中心揭牌，提升远程诊疗服务水平，京津冀医养结合联盟成员单位达550家。

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Published on:04:57:22