When French musical Mozart-L’opera Rock toured nine Chinese cities in the last two years, it drew a

When French musical Mozart-L’opera Rock toured nine Chinese cities in the last two years, it drew a big crowd of fans, including Chen Yike, a 28-year-old resident of Hangzhou.
“It was the first French musical that I had ever seen,” Chen said. She was so captivated by the show that she saw the production two more times.
Chen is one of many young Chinese who are increasingly fueling the country’s performing arts market. More and more young people are investing time and money in live performances, such as concerts and plays.
According to a report released by the Lighthouse Research Institute and ticketing firm Damai on March 25, young Chinese accounted for a record 55 percent of consumers of performing arts ticket sales in 2019 and 72 percent of concert attendees were people born after 1990.
Xiaomi, a 25-year-old girl from Chongqing became a loyal fan of singer Hua Chenyu after she saw his concert at the National Stadium in Beijing in 2018. Last year, she and three of her friends even traveled to Hainan province to see one of his concerts.
“It has now become a way of life for young people to spend money on performances by their idols,” Zhang Yiwu, a professor at Peking University, told China Daily.
Apart from young audiences, Chinese young performers are also doing increasingly well in the domestic (国内的) market and show a great potential for indigenous (本土的) culture to build a stronghold (大本营).
For example, the 19-year-old Chinese singer-actor Jackson Yee (易烊千玺) featured as a coach on the reality show Street Dance of China (《这！就是街舞》). With more than 80 million followers on his Sina Weibo platform, Yee’s participation helped attract audiences to an otherwise less known art.
On the iQiYi’s The Big Band, many young bands got the opportunity to show their music, and some have become quite popular. As a result, music that would have remained underground is now in the spotlight. “Many young bands on the The Big Band inspire me to learn more about their stories and indie (独立制作的) music,” Yang Zixu, a fan of The Big Band, wrote on the Chinese Q&A platform Zhihu.
Thanks to the joint effort of young audiences and performers, there’s “a driving force for Chinese cultural and creative industries” and it also “indicates China has entered a higher stage of development with better economic and social foundations,” according to China Daily.
8. The underlined word “captivated” in Paragraph 2 can be replaced by “______”.
A. confused B. fascinated
C. shocked D. disappointed
9. What is the main method the author used to develop arguments?
A. By using examples. B. By making a comparison.
C. By following the order of time. D. By analyzing the cause and effect.
10. How did Street Dance of China and The Big Band promote Chinese cultural and creative industries according to the text?
A. They allowed different works and forms of arts to gain more attention.
B. They offered young people a glimpse of new lifestyles.
C. They made audiences more willing to invest in live shows.
D. They drew talented followers to the coaches in the show.
11. What is the main idea of the text?
A. The popularity of live performances among young Chinese.
B. Changes in the ways that young Chinese performers attract audiences.
C. How young Chinese performers promote indigenous culture.
D. How young people have helped fuel Chinese cultural and creative industries.
【答案】