The moneymen who put up the cash to support artistic enterprises are the same the world over. For the most part, they are much more interested in the prestige which comes from their support than in the art itself, and this takes a toll on the artists, as for most of these investors, older is better. They tend to favor predictable, tried-and-true formulas. In this story, a dancer with one of the more conservative Chinese troupes is increasingly frustrated with their stodgy repertoire, and she and her photographer boyfriend want to start a new, more innovative company. They go to the moneymen and eventually arrange this, but the photographer is so overwhelmed by the difficulties he has endured in the process that he has a nervous breakdown and separates from the dancer, who goes on to ever greater success.
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