Plum Blossom Award Goes Global in Shanghai Drama Exhibition

China’s most prestigious theatrical honor, the Plum Blossom Award, has taken a historic step onto the global stage. The first-ever Plum Blossom Award International Drama Exhibition concluded on May 31 in Shanghai after an 11-day run featuring 10 outstanding productions, eight major opera genres, and 16 award-winning artists performing 19 shows to an average attendance rate of 98.5%.

A New Chapter for Chinese Theater

Founded in 1983 by the China Theatre Association, the Plum Blossom Award is the highest honor for theatrical performance in mainland China. Its name derives from the proverb “Plum blossom fragrance comes from bitter cold” (梅花香自苦寒来), symbolizing excellence achieved through perseverance. Over four decades, the award has honored hundreds of performers across 54 different opera genres.

This year’s exhibition marks the first time the award has organized a dedicated international showcase. According to the Shanghai Municipal Government, the event generated 4.793 million RMB (approximately US$660,000) in box office revenue and directly drove 28.65 million RMB in economic consumption across dining, retail, accommodation, transportation, and services.

Productions That Transcend Borders

The exhibition featured a carefully curated selection of works chosen for both their artistic excellence and universal themes. The lineup included Kunqu “Peony Pavilion,” Peking Opera “The Locked Silk Pouch,” Henan Opera “The Orphan of Zhao,” Huangmei Opera “The Female Consort,” Yueju “Su Dongpo,” Cantonese Opera “The Legend of the White Snake,” Qin Qiang “Red Plum Blossom,” Wu Opera “Three Strikes of the White Bone Demon,” and the dance drama “Crested Ibis.”

Three productions — Kunqu “Peony Pavilion,” Huangmei Opera “The Female Consort,” and Wu Opera “Three Strikes of the White Bone Demon” — signed overseas performance contracts for multi-country art festival tours, creating what organizers described as a complete “commercial-to-distribution loop.”

Chen Yongquan, Party Secretary of the China Theatre Association, explained the selection philosophy: “We hope more audiences can understand the unique way Chinese people view life, understand the world, and express emotions.”

Universal Emotions, Chinese Expression

Yueju Opera artist Mao Weitao, a Plum Blossom Grand Prize winner, reflected on the power of Chinese theater to connect across cultures. Recalling a performance of “The Butterfly Lovers” in Germany, she noted: “The pain of losing a loved one is the same for people all over the world. We use Chinese theater to express emotions common to all people.”

International audiences responded with enthusiasm. A French audience member who watched Henan Opera “The Orphan of Zhao” said: “This story is full of power. I was still immersed in the plot after the performance ended.” A Bulgarian audience member praised Kunqu “Peony Pavilion” as “every second is an exquisite painting,” expressing a wish to have it performed in their homeland.

Economic and Cultural Ripple Effects

The exhibition’s impact extended well beyond the theater. According to the China Theatre Association, three city flash mob events integrated traditional performance into commercial districts, boosting foot traffic and sales. In Pudong’s EKA·Tianwu district, foot traffic increased by 21.43% and revenue rose by 58.55%.

Online coverage of the exhibition reached over 40 countries including the United States, the United Kingdom, and France. Short-form videos targeting younger audiences reached 67% of users aged 18-30, with a single video amassing over 6.5 million views.

Audience spending data revealed the event’s draw as a cultural tourism attraction: local consumers spent 16.4 million RMB, out-of-town domestic visitors spent 9.26 million RMB, and international visitors contributed 2.99 million RMB.

A Permanent Home in Shanghai

Organizers announced that the exhibition will be held permanently in Shanghai every two years, starting from 2026. The decision leverages Shanghai’s historic status as a “theatre hub” (戏码头) and its mature cultural ecosystem as an emerging Asian performing arts capital.

The exhibition is part of the broader “Drama Revitalization Three-Year Action Plan (2026-2028)” (《戏剧振兴三年行动计划（2026—2028年）》), a national policy launched at the start of China’s 15th Five-Year Plan period. It aligns with the national goal of building China into a “cultural powerhouse” by 2035.

Redefining Chinese Opera’s Global Identity

A notable aspect of the exhibition was its emphasis on the term “Xiqu” (戏曲) as the English translation for Chinese traditional opera — a designation formally adopted in 2011 by the International Theatre Institute (ITI) and the China Theatre Association to replace the previously used “Chinese opera.”

Chen Zhongwen, Director-General of the ITI, said: “The world is eager to hear more voices from Chinese artists.” He added that the name change was “not just about terminological accuracy, but about maintaining cultural diversity and promoting equal artistic exchange.”

What to Watch For

With the biennial format now established, attention turns to how the exhibition will sustain momentum between editions and expand its international reach. The successful signing of three overseas contracts suggests a viable pathway from domestic showcase to global touring, potentially serving as a replicable model for cultural export.

As Chen Yongquan noted: “We look forward to this beautiful encounter planting seeds of hope for future sustainable cooperation.”