Chinese actress Zhang Kai-li has emphasized that micro-dramas demand stronger acting skills than traditional long-form series, countering the perception that short-format content requires less performance ability. Speaking at the 13th China Network Audio-Visual Conference held in Chengdu from April 14 to 16, 2026, Zhang stated that the condensed nature of micro-dramas necessitates precise, impactful portrayals within limited timeframes, raising the bar for performers rather than lowering it.
Her remarks were made during the “Micro-Drama High-Quality Development Forum,” where veteran industry figures including Huang Kai-ming and Hou Hong-liang discussed evolving trends in short-form content. Zhang, a national first-class actor at the National Theatre of China and a member of the National Committee of the Chinese People’s Political Consultative Conference, noted that while early micro-dramas suffered from inconsistent quality, the format’s accessibility and pacing align well with modern viewing habits.
She asserted that acting techniques used in long dramas are fully transferable to micro-dramas, rejecting the idea that short-form function requires a different skill set. “The performance in micro-dramas is no different from that in long dramas,” Zhang said, adding that actors must achieve what she described as “precise, accurate, and ruthless” character embodiment to succeed in the format.
Zhang encouraged young performers to approach micro-dramas with sincerity and artistic integrity, calling them valuable training grounds while urging adherence to professional standards. Her perspective aligns with broader industry reflections shared at the conference, where concerns about formulaic narratives—such as domineering CEO tropes and rags-to-riches storylines—were noted as declining in favor of socially resonant, life-oriented storytelling.
Industry Leaders Call for Substance Over Saturation in Micro-Drama Space
Hou Hong-liang, chairman of Dongyang Zhengwu Yangguang Film and Television and president of the China Television Drama Production Industry Association, echoed calls for quality over quantity. He described the current micro-drama landscape as resembling a “question sea tactic,” where platforms prioritize volume, receiving thousands of scripts weekly but approving only 2% to 3% for production.
Hou observed a shift away from repetitive, low-substance plots toward works with social relevance and emotional authenticity. He stressed that micro-dramas should not be viewed as mere condensations of long dramas but as a distinct expressive form requiring original creative approaches.
Huang Kai-ming, vice-chairman of the China Film Association, supported this view, stating that micro-dramas arrive “at the right time” by offering emerging creators vital early-career opportunities. He shared that his mother now watches short dramas daily, signaling the format’s deep integration into everyday life, and advocated for synergy between traditional television and micro-drama development, particularly in adapting to AI-driven content trends.
National Recognition Signals Maturation of the Format
The growing legitimacy of micro-dramas was further underscored by the inclusion of the micro-drama I Am a Partner in the Lady Xian Story in Lixiang in the National Radio and Television Administration’s recommended viewing list. The announcement, reported by China Central Television, marked a milestone for the genre, highlighting its increasing acceptance within official cultural frameworks.
This recognition reflects a broader transition from what critics have termed the “grassroots era” of micro-dramas—characterized by rapid, unregulated production—to a phase emphasizing artistic merit and audience value. Industry observers noted that such endorsements help establish benchmarks for quality and encourage investment in meaningful content.
While specific viewership metrics or financial figures for individual micro-dramas were not disclosed in verified sources, the consensus among speakers was clear: sustainable growth depends on nurturing talent, rejecting formulaic approaches, and treating short-form storytelling with the same rigor as long-form drama.
As the sector continues to evolve, stakeholders agree that the future of micro-dramas lies not in volume alone but in cultivating works that resonate emotionally and socially, where performance depth remains paramount regardless of runtime.
For updates on official micro-drama recommendations and industry guidelines, refer to the National Radio and Television Administration’s published lists and announcements from the China Television Drama Production Industry Association.
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