The year 2019 is the 37th anniversary of the CCTV Spring Festival Gala. Produced by China Central Television and broadcast on the eve of Chinese New Year, the gala is viewed nationally by extremely large audiences, which makes it one of the premier television events on China’s entertainment calendar.
2019年是央视春晚37周年纪念。春晚由中国中央电视台制作，在除夕夜播出，自然有非常多的观众收看，这使得它成为中国娱乐节目日程表上最重要的电视活动之一。
Each year, the directors of the gala try to adopt fresh ideas and introduce new faces. Some of them have become overnight stars, while some left with regrets.Let's find out more stories from behind the scenes.
每年，春晚的导演都在尝试采用新鲜的想法，引入新面孔。他们中的一些人一夜成名，而一些人则带着遗憾离开。让我们一起寻找更多的幕后故事。
With his handsome face and beautiful voice, Fei Xiang, a half Chinese, became the first Taiwan pop singer to cross the Strait and perform in the Spring Festival Gala.
有着帅气的脸蛋和漂亮的嗓音，有一半中国血统的费翔成为第一位跨过海峡，在春晚表演的台湾流行歌手。
With two songs that he performed at the Gala, “The Clouds of My Hometown” and “A Fire in Winter,” Fei Xiang became the most popular singer in the Chinese mainland over night. Most of us may not know that his success is owed to Deng Zaijun, the first female director of CCTV’s Spring Festival Gala.
由于在晚会上演唱了《故乡的云》和《冬天里的一把火》这两首歌，费翔一夜之间成为中国内地最受欢迎的歌手。我们中的大多数人可能不知道他的成功应该感谢邓在军，央视春晚的第一位女导演。
Deng Zaijun, director of 1987 Spring Festival Gala said, "I chose his song "A Fire in Winter" because the rhythm of the song was different. It was fashionable. But I was not sure if his dancing could be accepted."
1987年央视春晚导演邓在军表示：“我选择他这首《冬天里的一把火》是因为这首歌的节奏很不一样。它很时尚。但是我不敢肯定他的舞蹈能否被接受。”
But the response from the audiences proved that Deng made the right decision.
但是，观众的反应证明邓在军的决定是正确的。
In 1993, at its 10th anniversary, the Gala faced a lot of doubts including if it was necessary to hold the event every year. At that time, Zhang Ziyang rose to the challenge. The 37-year-old director produced many firsts, including the first usage of a big screen backdrop and the first adoption of second floor auditorium.
1993年，在春晚10周年的时候，晚会面临很多质疑，包括每年是否有必要举办这项活动。在那时，张子扬奋起接受挑战。这位37岁的导演创造了很多个“第一”，其中包括第一次使用大屏幕背景，第一次采用二楼观众席。
Zhang Ziyang said, "We made a three-sided stage. And some audiences were invited to the second floor. It was decorated like a tea house."
张子扬表示：“我们制作了一个三面舞台。一些观众被邀请到二楼。它被装饰得像个茶馆。”
Moreover, the 1993 Gala was noted for having live cross over between Hong Kong, Taiwan, and Macao.
此外，1993年春晚以港澳台的现场融合而闻名。
Zhang Ziyang said, "At that time, we had an idea, that is to hold a big gathering for Chinese everywhere. So we invited anchors in Taiwan, Hong Kong and Singapore. "
张子扬称：“那时候，我们有一个想法，那就是举办一次各地中国人的大聚会。所以我们邀请了台湾、香港和新加坡的主持人。”
Entering into the new century, the gala tended to be set on larger stages each time. The evolution of the Spring Festival Gala is, in many ways, representative of China’s technological growth, and social development.
进入新世纪，春晚每次都在更大舞台上举行。春晚的发展在许多方面代表了中国科技的发展和社会的发展。
Looking back at each year’s gala is just like looking at the past of Chinese people’s lives, and the trace of development of China. It involves hard work and exploration year after year. No matter how the gala evolves, for Chinese people, watching it has already become an indispensable ceremony on the eve of the New Year.
回顾每年的春晚就像是在看中国人过去的生活以及中国社会的发展轨迹。每年都需要辛苦工作和探索。无论春晚如何发展，对中国人而言，看春晚已经成为除夕一种必不可少的仪式。
