环太平洋
香港女星可人Kelly疑似被假富豪骗 本人发文撇清关系_我的网站
A | TVB节目《东张西望》上周报道了一桩“渣男”骗局：一名自称“郭总”的男子冒充富豪，对40岁女保安Tammy展开猛烈追求，骗财骗色。
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?
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.
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B | Tammy在镜头前怒斥对方：“衰人，扮有钱人，为了讨好我，骗财骗色，我真是有眼无珠认错人！”据Tammy透露，“郭总”自称身家雄厚、经营多家公司，还与李嘉诚谈生意、请高海宁做代言人，甚至随身携带装有100万人民币现金的行李箱。在“银弹攻势”下，Tammy与他发生了关系，但随后发现对方根本是“空心大老倌”——不仅没钱，送的名牌包全是假货。然而，报道出街后，网友的焦点却落在了“郭总”的打扮上。Tammy形容他喜欢穿金戴银、扮古代皇帝，日常爱穿浮夸的鲜色西装。主持人梁敏巧追问：“是不是穿得像安德尊（TVB资深艺人）那样？”Tammy回答：“是的，类似吧！”梁敏巧当场笑场，不得不暂停访问说：“不好意思，我笑了。
C | ”节目播出后，观众纷纷想一睹这位“翻版安德尊”的真容，但《东张西望》对其面部做了打码处理。不过，由于“郭总”打扮过于高调，很快就有网友扒出Tammy与“郭总”的合照，二人真面目曝光。
D | 更令人关注的是，网友发现香港艺人刘子仪（可人Kelly）也曾与“郭总”有交集。可人Kelly早前因在马场活动中被指“只帮自己P图、没帮方媛P图”而引发热议，如今又被翻出2021年与“郭总”的合照。照片中二人在某房间内，“郭总”穿着酷似“名侦探柯南”的服装，桌上摆着三层英式下午茶和心形饮料，可人Kelly身旁还有一大束红玫瑰，疑似为“郭总”所赠。此外，2023年元旦，可人Kelly高调宣布换新车，晒出与一辆鲜蓝色跑车的合照，并配文：“祝愿我朋友圈每一位朋友都可以心想事成（帮可爱的郭总卖个广告）”，暗示该车与“郭总”有关。考虑到“郭总”曾自称是租车公司老板，网友担心可人Kelly也遭其欺骗，纷纷留言：“看Tammy的前车之鉴……马场Kelly恐怕也……”面对舆论，可人Kelly于火速发布声明，澄清与“郭总”的关系。她表示，对方仅是“正常商业活动宾客”，二人只在商业活动上有礼貌性往来，绝无任何私下财务或私交关系，且自2023年7月起已再无联络。
E | 她强调，过往社交平台上的宣传文案“纯属当时店家对活动宾客及赞助之商业公关礼貌”，呼吁外界切勿过度解读。声明中，可人Kelly多次强调自己“独立清醒，专注事业”，并称：“本人多年来专注于医美及个人事业发展，拥有完全独立的商业判断力与经济能力。感谢各位粉丝与朋友的关心，外界切勿随不实报道起舞。特此声明，此后将不再对此事作任何回应。”目前，“郭总”的真实身份及是否涉及更多受害者，仍有待警方进一步调查。而《东张西望》的报道也让公众再次警惕“扮富豪”的骗局手法。
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Published on:21:58:38