The year 2012 is the 30th 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.
2012年是央視春晚30周年紀(jì)念。春晚由中國中央電視臺(tái)制作，在除夕夜播出，自然有非常多的觀眾收看，這使得它成為中國娛樂節(jié)目日程表上最重要的電視活動(dòng)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，春晚的導(dǎo)演都在嘗試采用新鮮的想法，引入新面孔。他們中的一些人一夜成名，而一些人則帶著遺憾離開。讓我們一起尋找更多的幕后故事。

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.
有著帥氣的臉蛋和漂亮的嗓音，有一半中國血統(tǒng)的費(fèi)翔成為第一位跨過海峽，在春晚表演的臺(tái)灣流行歌手。

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.
由于在晚會(huì)上演唱了《故鄉(xiāng)的云》和《冬天里的一把火》這兩首歌，費(fèi)翔一夜之間成為中國內(nèi)地最受歡迎的歌手。我們中的大多數(shù)人可能不知道他的成功應(yīng)該感謝鄧在軍，央視春晚的第一位女導(dǎo)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年央視春晚導(dǎo)演鄧在軍表示：“我選擇他這首《冬天里的一把火》是因?yàn)檫@首歌的節(jié)奏很不一樣。它很時(shí)尚。但是我不敢肯定他的舞蹈能否被接受?！?/div>

But the response from the audiences proved that Deng made the right decision.
但是，觀眾的反應(yīng)證明鄧在軍的決定是正確的。

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周年的時(shí)候，晚會(huì)面臨很多質(zhì)疑，包括每年是否有必要舉辦這項(xiàng)活動(dòng)。在那時(shí)，張子揚(yáng)奮起接受挑戰(zhàn)。這位37歲的導(dǎo)演創(chuàng)造了很多個(gè)“第一”，其中包括第一次使用大屏幕背景，第一次采用二樓觀眾席。

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."
張子揚(yáng)表示：“我們制作了一個(gè)三面舞臺(tái)。一些觀眾被邀請(qǐng)到二樓。它被裝飾得像個(gè)茶館?！?/div>

Moreover, the 1993 Gala was noted for having live crossovers between Hong Kong, Taiwan, and Macao.
此外，1993年春晚以港澳臺(tái)的現(xiàn)場(chǎng)融合而聞名。

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. "
張子揚(yáng)稱：“那時(shí)候，我們有一個(gè)想法，那就是舉辦一次各地中國人的大聚會(huì)。所以我們邀請(qǐng)了臺(tái)灣、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.
進(jìn)入新世紀(jì)，春晚每次都在更大舞臺(tái)上舉行。春晚的發(fā)展在許多方面代表了中國科技的發(fā)展和社會(huì)的發(fā)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.
回顧每年的春晚就像是在看中國人過去的生活以及中國社會(huì)的發(fā)展軌跡。每年都需要辛苦工作和探索。無論春晚如何發(fā)展，對(duì)中國人而言，看春晚已經(jīng)成為除夕一種必不可少的儀式。