Theatre Education in ShanghaiTech University: a case study of Liberal Arts Education in China

Theatre Education in ShanghaiTech University: a case study of Liberal Arts Education in China

Shuangshuang Cai

DOI: 10.64741/216125hhdrza

Abstract:

Even in Chinese institutions that have adopted liberal arts education, theatre education is notably absent. This paper aims to clarify the concepts of liberal arts education and theatre education and their interconnection; and to identify the gaps in their development within China’s higher education system.

Additionally, this paper analyses the implementation of holistic education through the case study of the performance studies at ShanghaiTech University. By conducting interviews with participants, the study explores how Theatre Education, as a component of liberal arts education, can benefit higher education students. It also examines its potential applications and long-term value for participants.

Keywords: theatre education, liberal arts education, performance studies, ShanghaiTech University, whole person education

1 Introduction: liberal arts education and theatre education

1.1 Liberal arts education

The concept of liberal arts education has deep historical roots in both Western and Chinese traditions. In the West, it originated from the ancient Greek eleutherion epistemon (knowledge of free men) and the ancient Roman artes liberales (arts of free men). It is important to note that the Latin word liberalis means ‘free’ in contrast to servus (slave). Consequently, in both ancient Greece and Rome, education for ‘free men’ was determined by socio-economic status, gender, and other exclusionary factors, not for everyone. By the 17th century, this concept evolved by merging with the English ideal of the gentleman, ultimately shaping the modern doctrine of liberal arts education. Wenqin Shen highlights this developmental trajectory, emphasizing its significance in understanding contemporary educational frameworks (2011: 45). In more recent times, John Henry Newman’s views on university education were organised and expanded upon, ultimately culminating in the publication of his book The Idea of a University in 1873, where he reaffirmed these principles. He argued that a university should be a place where students are known as individuals and where talent is cultivated, rather than a factory that merely repeats mechanical processes (1873/2013: 145). Newman’s vision emphasised the development of well-rounded individuals, not just the imparting of technical knowledge or vocational skills, which laid the foundation for modern liberal arts education in universities.

In China, the tradition of liberal arts education predates Confucius. Mianheng Jiang (2024: 98) highlights the significance of ‘The Six Arts’ – rites, music, archery, charioteering, calligraphy, and arithmetic – in the early Chinese educational system. By the pre-Qin period, Confucius’s disciples had compiled his teachings in The Analects of Confucius (2007: 110), which emphasised the principle of ‘education without discrimination’ (有教无类 yǒu jiào wú lèi). This principle advocated equal educational rights for all, regardless of rank or status. Such educational paradigm that emerged in feudal China similarly excluded marginalised groups including slaves and women, mirroring the ancient Greek and Roman ideal of cultivating ‘free men’. These parallel systems reveal both the inherent constraints imposed by their respective historical and social structures and more importantly, a shared commitment to intellectual cultivation across civilizations

A significant milestone in the evolution of higher education was the publication of General Education in a Free Society by the Harvard University Special Committee in 1945. The report emphasised the importance of cultivating individuals capable of ‘thinking effectively, communicating ideas, making appropriate judgments, and discerning values’ (Wang, H.: 83) within the framework of liberal arts education. Widely regarded as a landmark work, this book remains a prominent exemplar of liberal education principles.

1.2 Theatre education from school to higher education

Drama is widely recognised by scholars and experts as both a pedagogical tool and a formal educational approach. For younger children, theatre has been shown to stimulate sensory responses, thereby boosting self-confidence (Winston 2012: 7). In primary and secondary education, various theatre techniques, such as voices in the head, conscience alley, hot-seating and teacher in role have proven effective in engaging children who excel in verbal communication and sound imitation (Winston 2012: 7). These methods leverage drama’s unique ability to foster creativity and active participation.

The integration of theatre into the classroom has proven effective in helping educators achieve teaching and learning objectives. Yuk-lan Phoebe Chan (2009: 205) argues that theatre challenges students’ preconceived notions about learning, particularly for those accustomed to conventional classroom instruction. Additionally, theatre fosters a more democratic and dialogical classroom environment, empowering both teachers and students (Chan 2009: 193). Özgehan Uştuk (2022: 280) further highlight that theatre education serves as a platform for participatory action research, addressing ethical dimensions such as moral and patriotic education. This approach encourages active engagement and critical reflection among participants.

Since the mid-20th century, the interdisciplinary application of theatre education has evolved significantly in kindergartens, primary schools, and secondary schools. This evolution led to the establishment of a mature and distinct system, which has been integrated into numerous colleges and universities worldwide. Prominent examples include the University of Warwick, the Royal Central School of Speech & Drama, New York University, among others.

In Chinese theatre and performance studies, German dramatist Hans-Thies Lehmann (1944–2022)’s Post-Dramatic Theatre has sparked debate over the distinctions between ‘drama’ and ‘theatre’. Baorong Gong (2017) defines:

‘Drama’ as traditional Western theatre, rooted in Renaissance and 18th-century literary traditions, which prioritizes scripts, plot, and character development, while ‘theatre’ refers to contemporary performance-based works that emphasise staging and live enactment (21).

It is undeniable that the term ‘theatre’ now encompasses the concept of performance space. This research supports Huizhu Sun’s (2022) argument that the interchangeable use of these terms—evident in institutions like the Central Academy of Drama and the Shanghai Academy of Theatre—demonstrates their synonymity in representing dramatic art (17). Therefore, in this study, ‘drama’ and ‘theatre’ are used interchangeably to denote the same concept.

1.3 Theatre education as liberal arts education

Substantial evidence suggests that liberal arts education, which emphasises the cultivation of noble character and diverse talents, aligns closely with theatre education, which promotes democratic dialogue and critical thinking, among other things. Both approaches share the fundamental goal of nurturing well-rounded individuals. Essentially, theatre education can be viewed as a unique form and method of liberal arts education, comparable to appreciating ancient Greek and Roman sculptures, analysing 20th-century American literature, studying the Four Books and Five Classics, or composing poetry. Despite the curricular variations, all paths of liberal arts education ultimately converge in the holistic development of individuals.

To that end, a theatre education is essential to a liberal arts education, for young learners and emerging adults alike theatre education cultivates virtues, nurtures art appreciation, and fosters self-confidence, all of which are integral to a holistic educational experience. These benefits extend beyond the scope of professional modules, emphasizing the value of theatre education in developing well-rounded individuals.

2 Development and current shortcomings of both in China

The higher education system in China has undergone significant changes. In the 1990s, China followed the Soviet model of professional education (Qi & Liu 2013: 68) but shifted to the American model of general education in the 21st century. However, the implementation of liberal education remains constrained by several persistent issues. Although many universities have attempted to adopt liberal arts education, some modules are essentially basic professional modules repackaged as liberal arts education modules. As Fen Wang (2016: 96) observes, these modules are often less rigorous and demand less from students compared to their original professional counterparts. This has raised concerns about the quality of instruction and led to a lack of student engagement.

Despite these challenges, leading institutions such as Peking University, Tsinghua University, Fudan University, and Sun Yat-sen University have taken pioneering steps in this area. These universities have worked to break down disciplinary barriers and introduced interdisciplinary general studies modules on a university-wide scale (Wang, F. 2016: 95). Such initiatives have enabled students from diverse academic backgrounds to broaden their intellectual horizons and fostered interdisciplinary dialogue.

Sun Yat-sen University serves as an example of liberal arts education in China. Its core curriculum comprises four sections: Chinese civilization, global perspectives, science, technology, economy and society, and foundations of humanities and classical reading (Long 2011: 208). However, theatre education plays a limited role in this liberal arts education framework. Although the foundations of humanities and classical reading section balances arts and humanities, it primarily focuses on appreciation rather than active engagement. This approach lacks the participatory and interactive elements inherent in theatre-related curriculum design.

Theatre education uniquely integrates various art forms, such as stage design, costume design, and music, fostering both individual creativity and teamwork. It enhances students’ abilities to appreciate dramatic texts, perform roles, and cultivate collaboration and collective artistic expression. This comprehensive approach aligns with the goal of holistic education, which remains underrepresented in Chinese universities implementing liberal arts education.

In mainland China, theatre education is predominantly limited to underage groups within kindergarten, primary, and secondary integrated curriculum education. As Constantinos S Hilas and Anastasios Politis (2014: 362) describe, theatre education is a highly participatory and interactive pedagogical approach. It employs teaching methods such as discussions, debates, drama games, role-playing, and teamwork, which disrupt the traditional classroom model. This shift transforms the teacher’s role from an instructor to a facilitator of dialogue, where students also act as co-educators (Freire 1970: 80). Through active storytelling, participants physically embody characters and events (Winston 2013: 3). Additionally, theatre education fosters emotional intelligence by encouraging students to introspect, project emotions into situations, reconceptualise their feelings, and understand the relationship between emotions and social behaviors. Drama serves as an effective teaching tool, activating both the imaginative spirit of storytelling and the appeal of language (Winston 2013: 8). These observations highlight the significant achievements and experiences of theatre education in early childhood, primary, and secondary education.

This study addresses the following research questions: Does theatre education help university students explore and enjoy the joy of liberal arts modules? Does theatre education still effectively stimulate university students’ imagination and cultivate their enthusiasm for creativity and expression? Is there a need to innovate the form and content of higher education in China? If so, can this module serve as a reference model?

In the context of Chinese culture, Jie Xu argues that students develop in a learning environment where arts and sciences are segregated into distinct disciplines, and they compete for limited resources through a rigorous examination system (2024: 16).  Theatre education, as a liberal arts discipline in higher education, serves as a transformative source of enrichment. It provides students with a holistic and multidimensional educational experience, influencing their physical, mental, and intellectual development, as well as shaping both form and content in their learning.

To address the aforementioned questions, this study analyses the performance studies module at ShanghaiTech University, which was established in 2013 as a research-intensive institution focused on cultivating talent in science and technology, as a bounded, yet highly informative case.

3 Implementation of theatre education as a liberal arts education in ShanghaiTech University – a case study

3.1 Basic background

ShanghaiTech University (hereafter referred to as ShanghaiTech) integrates elements from the Oxford and Cambridge academy systems and the American liberal arts education model, offering general education programmes across the university. These programmes include classical music appreciation, modern poetry reading, leadership and teamwork, intimate relationship psychology, the origins and culture of Chinese bronzes, and art therapy, among others. Both undergraduate and postgraduate students are encouraged to select modules based on their interests. Contemporary liberal arts education aims to inspire students’ curiosity, foster critical thinking, and develop them into well-rounded citizens (Jonathan: 25). Reflecting this vision, Mianheng Jiang, the university’s inaugural president, emphasised ShanghaiTech’s commitment to nurturing autonomous students with strong aesthetic and creative abilities, a deep understanding of Chinese culture and global dynamics, and the capacity to thrive in a complex and rapidly changing world (2024: 100).

Theatre clubs in Chinese colleges and universities often face significant challenges, including insufficient funding to procure equipment and props, the inability to hire professional theatre instructors, and a lack of creative engagement that fails to attract audiences. These issues hinder the development of theatre culture in higher education (Huang 2019: 25). However, the FengHe Drama Club at ShanghaiTech University serves as a notable exception.

The FengHe drama club holds regular performance workshops every Saturday afternoon from 14:00 to 16:00. To date, the club has successfully staged five theatrical productions on campus, including Hello, Thief, Secret Love in Peach Blossom Land, Hello, Madness, The Good Person of Szechwan among others. Shangdao College provides financial support for these workshops and performances, ensuring their continuity.

These initiatives, which are uncommon in Chinese higher education, have fostered a sustainable theatre culture at ShanghaiTech. With continued support, the club has the potential to further thrive and serve as a model for other institutions.

3.2 Curriculum design and implementation of performance studies

Since the spring term of 2024, Shangdao College at ShanghaiTech University has conducted a university-wide elective module titled performance studies.[1] This two-credit module aims to provide students with a comprehensive understanding of performance art. To maintain an interactive and focused learning environment, enrollment is capped at 30 students.

3.2.1 Pluralism of teaching objectives

As a liberal arts education module, the programme emphasises the following pedagogical objectives:

1、To cultivate students into well-rounded individuals who are confident in expression, collaborative in teamwork, inquisitive in inquiry, and proficient in application.
2、To help students grasp the diverse modern development pathways and application prospects of performance in theatre arts.
3、To train students as designers and practitioners of performance through case studies and practical exercises.
4、To encourage students to analyse and reflect on the discipline’s past, present, and future through critical thinking.
5、To enhance teamwork in the learning process, fostering creativity and leadership, ensuring each student emerges as a future-ready individual.

During its first offering in 2024, the module attracted 22 students, comprising 21 undergraduates and one master’s student. A student teaching assistant (TA) was appointed to support instruction and manage administrative tasks. In 2025, the module attracted 18 students, comprising 16 undergraduates, two master’s student and a student teaching assistant (TA) as well to support the module.

Table 1‌: Number and percentage of students in different schools (2024)

Table 2‌: Number and percentage of students in different schools (2025)

Table 1 and Table 2 both show that more than 90 percent of students come from a science and technology background, apart from two students from the School of Creative and Arts who had experience in arts-related modules like game design, all other participants had minimal exposure to theatre-related content prior to enrollment. Consequently, these students possessed little to no background knowledge of theatre, making performance studies potentially their first formal introduction to the art form.

With this in mind, the lecturer emphasises the importance of providing students with an immersive theatre experience in each class, as it is more effective than relying solely on theoretical instruction. To balance theory and practice, approximately 30 minutes are allocated to theoretical explanations, followed by 60 minutes of practical activities. During the first ten weeks, lecturer guides students through various forms of theatre created by global theatre masters, such as storytelling, which interprets classic fairy tales through the actors’ physicality and vocal expression. Without relying on elaborate costumes, props, or even music and sound effects, this form of theatre centres the performer’s full bodily and mental shaping ability. Thus, in the first half-hour of the class, the lecturer will explain the origins of storytelling as a theatre form and its primary applications. The lecturer will also discuss its advantages and potential roles in performance arts. During the following hour of practical section, the lecturer will guide students in creating freeze frames: for instance, physically embodying a king’s superiority. Some students may tilt their heads back and gaze down condescendingly, while others might gesture commandingly into the distance to convey authority. Next, the lecturer will divide students into small groups of three or four to stage a narrative scene, such as three daughters celebrating their father, the aging king’s birthday. One group may depict the daughters embracing him harmoniously, another might highlight the moment of gift-giving, while others could stage the family blowing out birthday candles together. This hands-on approach encourages creativity and inspiration through independent thought and collaboration. It also reinforces that theatre values process over product—emphasizing the joy of experimentation and the magic of shared ideas.

From the eleventh week, students begin working in small groups to design and conceptualize their final projects. Each group selects a theatre form and decides on the content, which can be original, adapted, or a re-enactment of a classic. In the twelfth week, groups present their project ideas to the class using PowerPoint, including visuals, music, storyline, and chosen theatre form. They then refine their projects based on peer feedback and teacher suggestions, continuing rehearsals and improvements until the final presentation in week sixteen. The group presentations in week sixteen are evaluated as part of the module assessment.

3.2.2 Specific module case presentations

This section examines the design and delivery of week seven in the theatre of the oppressed module, focusing on the lesson structure and pedagogical strategies employed in each performance studies session. The design process integrates theoretical frameworks with practical exercises to foster critical thinking and experiential learning.

Table 3‌：A case for curriculum design: theatre of the oppressed

As we can see from the Table 3, whether it is the introduction of content, theatre games, experiencing theatre forms, or sharing and communicating, the module focuses on the interactivity of teaching, that is, the module is not just the one-way output of the teacher and the one-way absorption of the student, but it is also important to show through these forms of delivery how teachers and students interact with each other in the course (Freire 1970: 80), how students interact with each other, and how individual students interact with their own hearts and minds.

3.2.3 Teacher-student dialogue and democracy

Freire (1970: 77) emphasises that meaningful human life arises through dialogue, which occurs not in isolation but through active communication. Reflecting this principle, guided democratic dialogue is a central feature of the performance studies class. Below are examples of teacher-student interactions observed in the classroom.

Dialogue One:

Lecturer: ‘Theatre of the oppressed’, what do you think that means?
Student1: Something to do with politics?
Student2: Oppressed people, like slaves and prisoners.
Lecturer: Can you count the oppressed when you mention prisoner? It’s worth thinking about. They were locked up because they broke the law, right?
Student3: Students, to some degree.
Lecturer: Students, to a certain extent, yes, because your position is actually unequal to that of the teachers, that is, you are the oppressed in front of the teachers, the headmistress, and most directly you have to follow their instructions and demands. Good point.

Dialogue Two:

Lecturer: The group of bus passengers and the theatre of the oppressed engaging in sexual harassment that you just showed is a more typical scene. Can you name any scenes that you found impressive?
Student4: Everyone on the bus reacted differently, some kept silent, some were angry and some went up to help, which shows very well the attitudes of different people in society when faced with different things.
Student5: There is also the fact that even though there is no real bus here, everyone has done as much as they can to physically imitate it, so that the audience knows at a glance that it is a story about what happened on the bus. This is a very good reproduction of real life.
Lecturer: Very good. And there were also some students who just raised their hands and replaced the characters in the scene, giving their own solutions to the problem. So what could your characters have done better?
Student6: Is it possible that the changes that everyone put up were not really that different?
Student7: Or did everyone solve the problem too easily?
Lecturer: Is there anyone else who would like to say that? (Pause) Okay, I think…

What is evident in the teaching and learning process of drama is that the teacher begins by throwing out a topic, involving the students’ thoughts and engaging in a dialogue through a back and forth collision. In this dialogue there is no absolute right or wrong, good or bad answer. And very often the teacher’s in-depth analysis and summary is based on the feedback and critical thinking of the students. Such a dialogue is therefore democratic and not centred on the authority of the teacher.

3.2.4 Multidimensionality of the evaluation system

The evaluation criteria for the module are structured as follows:
(1) Attendance (10% of total score):
Regular attendance is mandatory and accounts for 10% of the final grade.
(2) Classroom Participation (60% of total score):
Individual Classroom Performance (10%):
Students are evaluated based on their proactive responses to teacher questions, creative contributions, and engagement in teacher-student interactions and co-creation.
Reading & Viewing Relevant Materials (10%):
Students are expected to review assigned readings and video materials, respond to teacher interactions, and form independent opinions for further class discussions.
Teamwork (20%):
Students collaborate in groups to produce creative outputs as part of team projects.
Group Peer Evaluation (8%):
Each group member evaluates their peers on a scale of 1-10, with the average score calculated as the final peer evaluation grade.
Classroom Presentation (12%):
Each student delivers a PowerPoint presentation on a specific topic within performance studies covered in the module.
(3) Final Assessment (20% of total score):
            Students submit a written summary and reflection on the semester’s learning, with a required length of 1,500 to 3,000 words.
(4) Network Dissemination (10% of total score):

Students are required to share photos and videos related to their final work on social media platforms, showcasing the social dimension of Introduction to the Basics of performance studies. Students may choose their preferred platforms for dissemination. Evaluation is not based on metrics such as view counts or likes but rather on the effort to share the discipline’s content and outcomes online. This task encourages students to explore the potential of digital platforms for academic and creative expression.

This grading scale evaluates student learning from a multi-dimensional perspective. It accommodates both extroverted and introverted students, as well as those skilled in independent thinking, writing, teamwork, and creativity. By doing so, it allows every student to leverage their strengths and contribute meaningfully to the module.

As shown in Table 4 and Table 5‌, the A rate for this module is notably high at 95% in 2024 and reaches at 100% in 2025. This reflects the students’ strong classroom performance, which contributes significantly to the high A rate. However, this does not imply arbitrary grading.

The multi-dimensional grading scale balances two key aspects: the aesthetic education emphasised in liberal arts, which rejects absolute hierarchies of superiority or inferiority, and the necessity for objective evaluation within the higher education system.

Table 4：Percentage of students at different levels/grades (2024)

Table 5：Percentage of students at different levels/grades (2025)

Using theatre of the oppressed as an example, what does theatre education in performance studies teach? It explores diverse issues such as politics, economics, culture, interculturalism, morality, and gender. Theatre education extends beyond the aesthetics of theatre or the technical excellence of stage design and performance. It also involves students’ interpretation and representation of characters and historical contexts, infused with their own humanistic perspectives on the narrative. This addresses the questions raised at the beginning of this article.

Theatre games disrupt traditional perceptions of university curricula by moving beyond passive learning—where students merely listen, receive information, and undergo occasional Q&A. Instead, these games require active participation: students rise from their seats to engage in spatial walking exercises or mimicry games at the instructor’s direction. Laughter becomes immediate and vibrant as energy circulates through the classroom, transforming the learning environment.

Performance studies provide the foundational knowledge necessary for practical training. The evolution of theatrical forms since the 1950s and 1960s demonstrates to students that innovation is possible in any era, even in disciplines like theatre studies with millennia of development. By examining the techniques of theatre pioneers and the sources of their creativity, students gain insight into artistic innovation. Building on this understanding, they collaborate to develop original projects—writing scripts, staging performances, and exploring creativity within limited budgets and non-theatre spaces. For instance, in 2024, the cross-cultural play Reed Gothic, which merges the Chinese Republican-era story The Bodyguard with Victor Hugo’s Les Misérables, reflects contemporary Chinese youth’s concern for individual destiny. Similarly, Bang, a cross-cultural adaptation combining Ibsen’s A Doll’s House with the Chinese poem Gadfly, serves as a contemporary reinterpretation amidst ongoing discussions on feminism. One group’s final performance in 2025 conducted theatre of the oppressed, setting the narrative in a zoo where humans played animals to satirise contemporary ‘corporate slave’(社畜, shèchù)[2] behaviour. This reinterpretation of Boal’s oppressor-oppressed dynamic showcased inventive engagement with theatrical tradition.

Few Chinese universities have implemented liberal arts modules, let alone theatre education. ShanghaiTech University is thus pioneering by integrating theatre into its liberal arts education curriculum despite its young institutional history. Chinese higher education increasingly resembles what John Henry Newman critiqued as a ‘factory’ (1873/2013: 145), where students specialize solely to secure post-graduation employment. This narrow focus neglects holistic development, dismissing modules like theatre as useless for future careers. Yet these very subjects offer students a vital secondary space beyond their majors—a space for laughter, critical engagement with social issues, and collaborative problem-solving. Through theatre, students learn compromise over conflict, leadership through teamwork, and the value of collective achievement. These skills, often undervalued in technical training, are essential for students entering society in the near future.

This study argues that ShanghaiTech’s performance studies module serves as a model for innovating theatre education within liberal arts education curriculum. It offers a replicable framework for universities aspiring to cultivate well-rounded graduates equipped with both expertise and the creative, interpersonal skills demanded by contemporary society.

3.2.5 Participants’ feedback and room for improvement

Module feedback is essential for evaluating module design and identifying areas for improvement. The process began with a satisfaction survey administered to all 22 students in 2024 and 18 students in 2025 who participated in and experienced the module：

Table 6：Module Student Satisfaction Survey (2024)

Table 7：Module Student Satisfaction Survey (2025)

Table 6 shows that this module has a very high student satisfaction rate of over 95% in 2024 and Table 7 shows the rate reaches 100% in 2025. Students provided detailed feedback on their experiences, highlighting the transformative impact of the module. Below are excerpts from their written reflections and interviews.

Written feedback from presenting students:
Student A: Rarely have I seen such vibrant energy in real adults. This class feels alive, with everything flowing seamlessly. It’s not an exaggeration to say it’s comparable to counseling.
Student B: Performance studies has been one of my favorite classes this semester. It has significantly contributed to my personal growth, not only in understanding theatre but also in exploring what performance means. These insights are invaluable for my future career in game design.
Student C: This is the happiest and most interesting class I’ve ever taken, from primary school to university. Unlike traditional classes bound by rigid procedures, this module encourages active participation and personal expression, making it truly engaging.
Student D: This module positively impacted my personality. It was my first experience with in-depth teamwork, teaching me to stay calm, analyse rationally, and find consensus amid differences. It strengthened my mental resilience and deepened my respect for others.

Interview feedback from presenting students:
Student A: Through studying various forms of theatre and practical exercises, our group created a story from scratch. Developing the storyline, refining it, and bringing it to life on stage was incredibly fulfilling. Even if we don’t pursue theatre careers, this module has broadened our perspectives and introduced us to global theatre masterpieces.
Student B: I was exposed to original forms of theatre and learned about groundbreaking ideas from theatre masters. During our final project, we worked hard to present the best possible performance within a limited timeframe.
Student C: As an introverted person, this module helped me improve my social skills and become more outgoing over the four months.

Audience feedback from non-presenting students[3]:
After the final presentations, the lecturer gathered feedback from the audience through live dialogue:

Audience One: I thoroughly enjoyed the Bluebeard. The stage was minimal, yet it felt rich and immersive. It was a delightful experience.
Audience Two: The performance in the school toilets was mind-blowing. I never imagined that space could be used so creatively. The live broadcast was an ingenious way to engage a larger audience.
Audience Three: I’ve known Sun (alias) for years, but I never realized how captivating he could be on stage. The script, written by him and his team, showcased the incredible talent of ShanghaiTech students.
Teacher L: Yang (alias), whom I recruited from Wuhan, and her team’s work was eye-opening. I suggest using this performance for future student recruitment at ShanghaiTech.

Ultimately, students intuitively feel the burst of energy and vitality (physically and mentally) during the module; synchronously, students expand their knowledge of theatre through the experience and reception of theatre content and gradually expand and train their skills in teamwork and personal expression. Furthermore, students are inspired by the medium of theatre to share their understanding of the world through theatre, all of which is reflected in the interactive process of the curriculum, gradually approaching the concept of whole person education.

Areas for Improvement
While the module received overwhelmingly positive feedback, there are areas for improvement:

First is the limited data collection. Due to the small number of participants and researchers in this iteration, the data collected was limited. Expanding participation in future modules will allow for more comprehensive analysis.
Second is resource constraints. Some creative ideas were unrealized due to equipment limitations, weather conditions, and financial constraints. The module aims to avoid additional student expenses, but future iterations could explore alternative solutions to support ambitious projects.

As a result, simple modifications often relied on local materials or reused existing resources and props available on campus. This approach, while practical, compromised the overall aesthetic composition.

4 Conclusion

The curriculum design and implementation at ShanghaiTech University serve as a valuable case study for curriculum reform in Chinese higher education. With exceptional courage and determination, ShanghaiTech is pioneering innovative approaches to cultivate a new generation of creative and forward-thinking talent in the current educational landscape.

Theatre education as liberal arts education complements higher education rather than opposing it, fostering a balance between the two. It emphasises cultivating the human spirit and shaping individuals with civic-mindedness, aligning with both the foundational principles of liberal arts education and the talent demands of modern society.

The development of theatre education modules, such as performance studies at ShanghaiTech, highlights its dual role as both aesthetic exposure and holistic personal development within the framework of liberal arts education. Through performance studies, students explore and cultivate diverse skills, including theoretical knowledge of theatre history, scriptwriting, directing, acting, teamwork, creative expression, visual design, critical thinking, and summarization. As Jue Wang (2020) asserts, art-related education cultivates a comprehensive literacy that pursues innovation and transcends the present in creative artistic sensibilities (193).

The practical impact of theatre education extends beyond the classroom. Students have applied their skills in various ways: establishing the university drama club, creating short videos, and even staging commercial performances of plays like parent-child theatre outside the campus. These activities illustrate how theatre education transcends the stage, enabling students to utilize its power in real-world contexts.

The influence of theatre education persists beyond higher education. For students who have undergone this training, the principles of liberal arts and theatre continue to resonate in their lives, whether as profound impacts or subtle influences. Thanks to theatre, students can leave the screen world of mobile phones and computers for a while, return to the real world of human interaction, integrate into a more lively community and campus, and discover the meaning of life by feeling the power of the group and gradually eliminating their negative emotions (Gao 2023: 28). This enduring effect underscores the transformative potential of theatre education.

The power of theatre education extends beyond academia. Its tools and methods are increasingly applied in fields such as psychotherapy and prison rehabilitation. For instance, Paul Wilkins (2012: 147) highlights the role of audiences in psychodrama, aiding psychological adjustment. Similarly, practitioners like Marcel Okhakhu and Usiwoma Evawoma-Enuku (2011: 527) emphasise theatre’s ability to foster positive community atmospheres and promote change, even in challenging environments like prisons.

This article argues that students at ShanghaiTech who have received theatre education as part of their liberal arts training are already applying its transformative power to their lives and careers. Theatre education not only enriches their personal and professional development but also contributes to broader societal change.

Although we must face the current shortage of drama teachers, the confusing curriculum design, the lack of attention to drama education by the university authorities, the backwardness of the overall educational concept, and other various problems in the universities of science and technology (Wang & Kong 2015: 107; Liu 2019: 124), we must still see the valuable experience of the liberal arts education of ShanghaiTech University in the transformation of higher education, and feel the aesthetic spirit of its liberal arts curriculum. Just as theatre holds the potential to serve as a precursor to revolution (Boal 2008: 98), the practice of theatre education in higher education acts as a revolutionary precursor to broader educational reform. It is through such bold attempts and actions that future innovations in education become possible.

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[1] Performance studies, established as an independent academic discipline by Richard Schechner in the United States, serves as an interdisciplinary and cross-cultural extension of traditional theatre studies. The performance studies module at ShanghaiTech University adopts Schechner’s foundational theories and performance methodologies while dynamically incorporating contemporary performance practices and experimental models. As a result, the curriculum remains fluid, evolving alongside advancements in the field.

[2] Corporate slave (社畜, shèchù): Corporate slave is a term commonly used in Chinese to refer to people whose lives are dominated by work, forcing them to give up their leisure time.

[3] At the final performance, approximately 50 audience members who were not enrolled in the module were invited to attend.

Notes on Author

Shuangshuang Cai is a PhD student in the Department of Theatre and Performance Studies at the University of Warwick. Since 2022, she has been a part-time lecturer at ShanghaiTech University.  As a playwright, director, and producer, she also produces and hosts the podcast Moments·片刻.

Email: shuangshuangcai0704@gmail.com

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