Building the Future

Although the troupe was born from her personal life experiences, what truly keeps Director Kuozi going through the long and difficult journey of running it is the smiles of the children in the audience. She says that whenever she sees kids laughing with real joy in the theatre—and then responding with excitement after the show—she is so moved that she often asks herself, "Was our performance really that good?" And that feeling is what makes her choose to keep going, again and again. The power of performing arts can break through the walls around people's hearts. In the theatre, both children and adults laugh and cry with the story. Those smiles and that applause have become the strong driving force that helps her persist, no matter how hard things get.

However, some members have been part of the troupe since they were children. Even after they grew up, started families, and worked hard, they still found it difficult to make a living through theatre. This pushed Director Kuozi to reflect: Why can't the troupe "support" its actors? As the troupe entered its second stage of development, she began to feel a stronger sense of mission. She wanted to work not only for the troupe, but also for the people who truly dedicate themselves to theatre. After the impact of the pandemic, she became even more convinced that if the theatre field cannot provide even a basic livelihood, the troupe will struggle to move to the next level—and it will also be hard to gradually reduce its dependence on government funding.

When talking about retiring early from her radio job for the troupe, Director Kuozi admitted that after completing the troupe's major 20th-anniversary production, she understood more clearly than ever: if she kept her radio work, she simply could not handle both roles well. Retiring meant giving up a stable income and her reporter title. She weighed the pros and cons again and again, but in the end she believed it was the right decision—because she found herself waking up smiling more often each day. It was a return to her original dream, and back to the path she truly wanted. Even though it came with struggles, she felt more grounded and sure of herself.

Looking ahead, Director Kuozi hopes to build new groups within the troupe—one for children and another for middle-aged adults. She admits the challenges are still real, but she believes complaining will never change the situation. Only by keeping a long view—five years, ten years—can the troupe grow stronger and more professional. Step by step, they can break old stereotypes, earn deeper trust, and move closer to becoming a truly professional theatre company.