Ting Zhang – författare

A pioneering examination of a field in its early stages, Zhang delves into a detailed exploration of the evolving role of dramaturgy in contemporary Chinese theatre, bridging the gap between established Western theories and the unique practices emerging in the Chinese theatre scene, and offering valuable insight into the reshaping of theatre production amidst a rapidly changing cultural landscape.

Compared with the development of dramaturgy in Western countries, dramaturgical practice in contemporary Chinese theatre is still in its infancy. This book aims to fill this gap by exploring dramaturgy’s evolution and current role in Chinese theatre. It embarks on a global exploration—both in terms of dramaturgical theories and practices—across Germany, the UK, the US, and the Asia-Pacific region, providing a theoretical framework. It then traces the evolution of Chinese spoken drama (Huaju) from its origins in 1907 to the present. This chronological exploration illuminates Huaju’s development from foreign influences in the early decades to a more recent era of self-exploration. The book features three key case studies: the reception of Henrik Ibsen’s work in China, the 1983 production of Arthur Miller’s Death of a Salesman in Beijing, and the writing and staging of Teahouse. It also explores contemporary dramaturgical practices in China, based on fieldwork and interviews with theatre practitioners in Beijing and Shanghai. Through an examination of the similarities and differences in dramaturgical practices across performing arts in China, the book firmly positions Chinese dramaturgy within the broader currents of global theatre discourse.

A unique cross-cultural resource with practical insights and theoretical reflections of great value for academics, scholars, educators and practitioners in the fields of theatre studies, dramaturgy, cross-cultural performance studies, contemporary Chinese theatre and the global evolution of dramaturgy.

A pioneering examination of a field in its early stages, Zhang delves into a detailed exploration of the evolving role of dramaturgy in contemporary Chinese theatre, bridging the gap between established Western theories and the unique practices emerging in the Chinese theatre scene, and offering valuable insight into the reshaping of theatre production amidst a rapidly changing cultural landscape.

Compared with the development of dramaturgy in Western countries, dramaturgical practice in contemporary Chinese theatre is still in its infancy. This book aims to fill this gap by exploring dramaturgy’s evolution and current role in Chinese theatre. It embarks on a global exploration—both in terms of dramaturgical theories and practices—across Germany, the UK, the US, and the Asia-Pacific region, providing a theoretical framework. It then traces the evolution of Chinese spoken drama (Huaju) from its origins in 1907 to the present. This chronological exploration illuminates Huaju’s development from foreign influences in the early decades to a more recent era of self-exploration. The book features three key case studies: the reception of Henrik Ibsen’s work in China, the 1983 production of Arthur Miller’s Death of a Salesman in Beijing, and the writing and staging of Teahouse. It also explores contemporary dramaturgical practices in China, based on fieldwork and interviews with theatre practitioners in Beijing and Shanghai. Through an examination of the similarities and differences in dramaturgical practices across performing arts in China, the book firmly positions Chinese dramaturgy within the broader currents of global theatre discourse.

A unique cross-cultural resource with practical insights and theoretical reflections of great value for academics, scholars, educators and practitioners in the fields of theatre studies, dramaturgy, cross-cultural performance studies, contemporary Chinese theatre and the global evolution of dramaturgy.

Entrepreneurship has been central to China’s transformation into the world’s second largest economy since the country’s reform and opening-up. Today, the entrepreneurial landscape is undergoing significant change. A new generation of entrepreneurs—shaped more by market dynamics than the legacy of central planning—is taking the lead. Early ventures have grown into national champions, now grappling with complexityand the risk of complacency. Meanwhile, a stronger state presence and global headwinds have reshaped the policy and business environment. As China confronts demographic shifts and the limits of an export-led growth model, it once again turns to entrepreneurship to drive innovation and avoid the middle-income trap.

This handbook looks at the complex dynamics and changing nature of entrepreneurshipin China. It provides overviews of up-to-date research in four important areas: how Chinese entrepreneurs exercise their ability to seek and seize market opportunitiesin the face of uncertainty; how entrepreneurial firms in China facilitate the continuous leveraging of opportunities; how entrepreneurial ecosystems are evolving to support the entrepreneurial actions of both individuals and organisations; and how entrepreneurship is exercised as an instrument to address pressing societal challenges.