This book examines the development of Cultural and Creative Industries (CCI) in China through the angle of Chinese Theatre, xiqu. It focuses on the political and socio-economic transition period at the turn of the 21st century, as China evolves from ‘Made in China’ to ‘Created in China’, highlighting associated class reconstruction and cultural production and consumption. There are many forms of Chinese Theatre, the most popular one throughout Chinese history to date is the sing-song drama, collectively refers to as xiqu, which currently has over 300 regional styles across China. In 2014, President Xi Jinping’s Beijing Talk on Arts and Literature, which serves as China’s latest Chinese Communist Party (CCP) ideological direction and cultural policy, stressed that ‘the future of Chinese cultural and creative industries is to be anchored on traditional art forms, such as xiqu’. Such Chinese cultural and creative industry distinction will be addressed in this book.

Routledge Handbook of Asian Theatre is an advanced level reference guide which surveys the rich and diverse traditions of classical and contemporary performing arts in Asia, showcasing significant scholarship in recent years. An international team of over 50 contributors provide authoritative overviews on a variety of topics across Asia, including dance, music, puppetry, make-up and costume, architecture, colonialism, modernity, gender, musicals, and intercultural Shakespeare. This volume is divided into four sections covering: Representative Theatrical Traditions in Asia. Cross-Regional Aspects of Classical and Folk Theatres. Modern and Contemporary Theatres in Asian Countries. Modernity, Gender Performance, Intercultural and Musical Theatre in Asia. Offering a cutting edge overview of Asian theatre and performance, the Handbook is an invaluable resource for academics, researchers and students studying this ever-evolving field.

First Published in 2000. Routledge is an imprint of Taylor & Francis, an informa company.

After the end of the Cold War, it seemed as if Southeast Asia would remain a geopolitically stable region within the American-led order for the foreseeable future. In the last two decades, however, the re-emergence of China as a major great power has called into question the geopolitical future of the region and raised the specter of renewed great power competition. As the eminent China scholar David Shambaugh explains in Where Great Powers Meet, the United States and China are engaged in a broad-gauged and global competition for power. While this competition ranges across the entire world, it is centered in Asia. In this book, Shambaugh focuses on the critical sub-region of Southeast Asia. The United States and China constantly vie for position and influence across this enormously significant area--and the outcome of this contest will do much to determine whether Asia leaves the American orbit after seven decades and falls into a new Chinese sphere of influence. Just as importantly, to the extent that there is a global "power transition" occurring from the US to China, the fate of Southeast Asia will be a good indicator. Presently, both powers bring important assets to bear in their competition. The United States continues to possess a depth and breadth of security ties, soft power, and direct investment across the region that empirically outweigh China's. For its part, China has more diplomatic influence, much greater trade, and geographic proximity. In assessing the likelihood of a regional power transition, Shambaugh examines how ASEAN (the Association of Southeast Asian Nations) and its member states maneuver and the degree to which they align with one or the other power.

Taiwan and Post-Communist Europe examines Taiwan’s economic diplomacy towards post-communist states in Central and Eastern Europe. The media, and occasionally academia, have often suggested that Taipei resorts to costly aid, trade and investment diplomacy to facilitate its foreign relations, whilst China engages in equally costly counter-economic diplomacy to keep Taiwan isolated. Czeslaw Tubilewicz argues conversely that Beijing’s diplomacy in post-communist Europe has demonstrated China’s reluctance to employ economic instruments against states violating the ‘one-China’ principle when cheaper (diplomatic) alternatives are available. Taipei, for its part, has demonstrated that promises of economic assistance are sufficient to induce target states’ short term compliance, whilst in the medium to long term Taiwanese economic assistance, conditional upon meeting political criteria, has proved inconsequential due to Taipei’s refusal to follow up aid commitments. This book examines the efficacy and limitations of Taipei’s frugal economic diplomacy in furthering its broader diplomatic objectives, looking at both Taipei’s failure to establish a lasting diplomatic presence in post-communist Europe, but also its success in securing ‘substantive’ relations with a number of major post-communist states, and thus opening transition economies for its exports and investments. The first in-depth study into Taiwan’s economic diplomacy toward post-communist Europe, this book will appeal to readers interested in Taiwan and China studies, diplomacy, Asian studies and international relations.

At the age of ten, Leah Hager Cohen entered a world of make-believe that would captivate her for years. Participating in a traveling theater company's production of Wolkenstein, she was fascinated by the pageantry of the play and the camaraderie she found within the acting troupe, and the experience sparked a lifelong love of community theater. Nearly twenty years later, Cohen found her way to a small community theater in Arlington, Massachusetts, one of many thousands like it in America, and set out to chronicle what would be an extraordinary year. Arlington Friends of Drama had just celebrated its seventy-fifth anniversary, was embroiled in disputes over structural changes proposed to help it adapt to changing times, and was about to hold auditions for its most controversial play to date, M. Butterfly. As Cohen writes, "This time around, I had come to community theater not in order to insinuate myself into its culture but to try to understand what the culture comprised, and to answer what it is about amateur theater that makes people not just desire but need it." With the same graceful prose and startling insight that garnered such extraordinary reviews for her previous books, Train Go Sorry and Glass, Paper, Beans, Cohen has created a fascinating and poignant portrait of community theater in America-past, present, and future. ¥ The American Association of Community Theatres, founded in 1986, estimates that there are ten thousand community theaters nationwide, with more than a million active members. ¥ Arlington Friends of Drama is one of the ten oldest continually operating community theaters in the country.

The study focuses systematically on the range of domestic influences, but also considers less obvious but vital roles played by European and Asian nations, as well as Taiwan and China Itself.

Provides insights into how common strategic contingencies drives competitive advantage and innovation in the different clusters Provides an historical overview of how innovation has developed, and therefore how it might develop in the future Includes coverage of how COVID has impacted creative and cultural industry innovation and operating practices and their implications for a post COVID landscape