It’s day two of the IAPAR International Theatre Festival here in Pune, India. This marks my second year attending the festival, but it’s the first time I’m here as a reviewer—a new role that I’m still getting used to, after years of wearing other hats: theatre producer, writer, actor, and director.
Being back in India, and in Asia more broadly, feels invigorating. Over the past two years, I’ve performed in Vietnam, South Korea, China, Australia (which, like it or not, falls within the Asian sphere of influence), and India. Among these, India stands out for its size, cultural diversity, and unique connection to the English-speaking world. This combination fosters a fascination that seems almost unconscious.
If China is Godzilla in most fields, including theatre, India is King Kong with multiple personality disorder. China’s approach is deliberate and outward-focused, projecting power across borders. India, on the other hand, is so vast and complex that it is often preoccupied with managing its internal diversity. While China carefully crafts its global narrative, India’s story is one of introspection—figuring out how to communicate effectively across its many languages and cultures. Add to this the reality of being the world’s most populous nation, growing by 10 million people annually, and it becomes clear why India’s focus remains inward.
This dichotomy extends to the realm of soft power. China has embraced a strategy of cultural diplomacy to complement its economic and military ambitions. In 2011, I came across an article in The New York Times by Yan Xuetong, a Chinese political scientist from the realist school of thought. Titled: How China Can Defeat America, it laid out a blueprint for China’s rise that remains relevant today. One key tenet was the importance of cultivating “high-quality friends” through moral leadership and strategic relationships. In essence, hegemonic power requires more than military might; it demands legitimacy through cultural and ideological appeal.
Theatre plays a subtle but vital role in this soft-power dynamic. During the Cold War, the United States didn’t just project military strength; it exported its culture through cinema, music, fashion, and pop art. These cultural exports shaped perceptions and won hearts globally. Today, as the U.S. struggles to maintain a cohesive narrative, it appears increasingly fractured and focused on endless wars. In contrast, China has positioned itself as a benevolent power, building infrastructure in Africa, mediating conflicts like the Saudi-Iran rapprochement, and showcasing its achievements through cultural diplomacy.
A recent example of China’s soft-power strategy in theatre was its presence at the 2024 Avignon Off, the largest theatre festival in continental Europe. This year, 12 Chinese companies participated, a significant increase from just one in 2018. The festival saw official delegations led by the Chinese consul in Marseille, presentations of the Guilin Theatre Festival, and performances like The Legend of the White Snake by the Shanghai Theatre Academy. Such initiatives underline China’s intent to use cultural platforms to solidify its global image.
Contrast this with the 2024 Edinburgh Fringe Festival, where Chinese representation was conspicuously absent. Could this be linked to geopolitical tensions, such as the UK’s involvement in the AUKUS alliance? Cultural exchange often mirrors the state of diplomatic relations, and in this case, the absence speaks volumes.
As I watch the performances here at IAPAR, I can’t help but think about the parallels between cultural and geopolitical competition. During the Cold War, cultural rivalries spurred innovation and creativity in the arts. Today, as Asia rises like a tsunami, Europe appears content with managing decline rather than pursuing growth. It’s hard not to wonder what role theatre will play in this shifting landscape.
The future of innovation in theatre likely lies in Asia. This region has the perfect combination of population, cultural richness, and economic dynamism to drive new trends and ideas. Europe, by comparison, seems ideologically and demographically stagnant. As the world watches the ongoing power struggle between Godzilla and King Kong with MPD, theatre will no doubt reflect and shape the narratives of this evolving reality.
To be continued…
