nghệ thuật sân khấu cải lương nam bộ qua tác động của các phương thức quản lý bản tóm tắt tiếng an

- 1 -
PREFACE
1. The essential of topic
About the mode of management operation derived from “bau ganh”
(theater family), Cai luong Stage Art was “under” many different
management modes: Private Management Mode, Government
Management Mode, Flexible Management Mode of management subjects
in the period of Art Cultural Operation Socialization.
Theater Family Operation of The Southern Cai luong Stage Art in the
early years of XX century as well as the Government Management Mode
after our Liberation, had achieved some specific success. In our Reform,
the Traditional Stage Art form generally, Cai luong Stage Art particularly
had to cope with many challenges resulted from the marketing mechanism
and the mass international integration. Above all others, the reform of
management was more and more important for the development of the
Peoples’ Theater Art, especially Cai luong Stage Art.
Presently, Cai luong Stage Art as well as the Peoples’ Theater Art are
in danger of falling behind, less audience. How to preserve the unique
traditional values of the Peoples’ Stage Arts and to improve and prove
them in the contemporary life? How to improve art quality of the plays,
and to reach the economical objectives in order to improve the living
quality for artists today?
By surveying, assessing the management modes of each period, we
want to study the impact of management modes and their deep effects on
the formation and development of the Southern Cai luong Stage Art.
As a result of survey, we conducted some experiences, defined the
achievements as well as the shortcomings of the management modes to
The Southern Cai luong Stage Operation in every development period.
Since the dissertation suggests some solutions of the management model in
- 2 -
order to partly consolidate and develop The Southern Cai luong these days

and in the future.
2. History of the studying
There were a lot of research and works of Cai luong Stage Art. Some
authors mentioned the management, the management mode of Cai luong
Stage Art as follows:
Memoirs of 50-year theater passion, written by Vuong Hong Sen -
1968 - mentioned the history of Cai luong Stage Art and the team with
significant important contributions in the formation and development of
Cai luong Stage Art, they were composers, artists, musicians, etc. In
which, role of a guarantor who contributed to the formation of Cai luong
Stage Art was retold in the memoirs.
Vietnam Stage Art, by Tran Van Khai - 1970, taking an overview of
progress of the Southern Cai luong Stage Art Formation.
Stories of Cai luong, by the People’s Artist Ba Van - 1989. In this
memoir, Ba Van mentioned the theater family and the guarantors that he
ever knew, worked or collaborated with during his Stage Art Operation
time. He affirmed that Cai luong Stage Art after our liberation was the
most super stage that determined and honored the artists’ positions,
manners in a new society.
History of Cai luong Art, by Truong Binh Tong - 1997. Apart from
the mention of the origin, development history of Cai luong Stage Art, the
work mentioned the formation, typical and style of Cai luong Stage Art,
emphasized the role of a guarantor since before 1975 and the achievements
of The Southern Cai luong Stage Art under the leading of our Party and
Government after our Liberation Day.
Vang bong 1 thoi (A famous moment) - 2007, by Huynh Cong Minh,
recording the successful moments of the artists, composers, theater
- 3 -
managers under the camera of a professional journalist on The Southern
Cai luong Stage Art from 1955 until now.

Cai luong Stage in Ho Chi Minh City, by Nguyen Thi Minh Ngoc -
Do Huong - 2007. This book led the readers to the thought of declining
trend of Cai luong Stage Art presently.
Music and Cai luong stage by Tuan Giang - 1997. As a musical
composer, the author went into the details of explaining the formation of
the Cai luong Stage Art and Cai luong music of amateurs that associated
with the historical periods. At the same time, the author also analyzed,
evaluated in terms of the development of this stageart form.
The Southern Cai luong Stage, by Do Dung - 2000. In this work, it
referred to the role of the guarantors - the private management mode and
the role of the headleaders - the government management mode.
The matter of Stage in the marketing mechanism, by Ngo Thao -
2000. In this book, the author mentioned generally the art performance
operation of Vietnam Stage through the period between 1945 and now.
The matters of the theater family, the theater guarantor, the private
management mode in the early period of Cai luong combining with the
people who contributed to the success in the formation of Cai luong Stage
Art were recorded in the memoirs of the senior artists, composers, etc.
The dissertation will continuously contribute to the studying of the
Southern Stage Art’s formation and development under the impacts of the
management modes, and review their interactions to the Art Subjects.
3. Purpose of studying
This dissertation is carried out to study the Southern Cai luong Stage
Art, study the strong impact of the management modes to the formation
and development of The Southern Cai luong Stage Art throughout the
different periods. As a result of study, assessment of strong points as well
as shortcomings points under this impact, and then it suggests some
- 4 -
Reform solutions of The Southern Cai luong Stage Art unit’s management
mode in order to be suitable for the present real conditions.

4. The Object and studying Cope
4.1. The Object
Topic “The Southern Cai luong Stage Art under the impact of
management modes” directs to the object of The Southern Cai luong Stage
Art and its management modes; their wide effects on the art subjects
overseen from the theory and the reality.
4.2. The Cope
Space
Studying the management modes, the role of the managements in
The Southern Cai luong Stage Art in the West-Southern such as Vinh
Long, Tien Giang, Bac Lieu, etc. and Saigon, presently Ho Chi Minh City.
Time
Studying the management modes, the role of the managements of Cai
luong Stage Art in Saigon (Ho Chi Minh City) and the West-Southern
from the beginning and developing until now.
Surveying
Studying 2 areas including art content and form, and the management
of creative workforce, the capital and material foundation, the performance
business.
5. Method of studying
The Interdisciplinary Approach: Art, culture, history.
The Countryside Approach: Interviewing, discussing an idea to
collect the information of an object. We will approach to the audience and
the managements, directors, actors/ actresses, and leaders of The Southern
Cai luong Stage Art units to refer to the professional reviews of the people
who have directly worked, contributed to the art.
- 5 -
6. Contributions of the dissertation
6.1. Theory
By analyzing the historical facts which impacted the existence and

development of The Southern Cai luong Stage Art, the dissertation
synthesizes and completes the theory system of management mode,
completing and reforming the management mode of theaters, the units of
The Southern Cai luong Stage Art these days.
6.2. Reality
The dissertation reflects the current conditions of The Southern Cai
luong Stage Art and gives some feasible solutions to improve the quality
and the organizational effects, the management of The Southern Cai luong
Stage Art now and in the future.
The dissertation’ result will be a document for the government
managements, the public and non-public Cai luong Units for reference to
acknowledge the management modes in the Stage Operation Socialization
period under the guideline of our Party and Government.
7. Structure of the dissertation
Apart from the preface (08 pages), Conclusion (03 pages), Portfolio
of References (09 pages), the dissertation’s content is divided into three
chapters.
Chapter 1: Theory and History of The Southern Cai luong Stage Art
(37 pages).
Chapter 2: The impact of Management Modes in the progressive of
The Southern Cai luong Stage Art (63 pages).
Chapter 3: Solutions of Management Mode Reform of The Southern
Cai luong Stage Art in the new age (33 pages).
- 6 -
Chapter 1
THEORY AND HISTORY OF THE SOUTHERN CAI LUONG
STAGE ART
1.1. The concepts and relevant technical words
1.1.1. The Southern Cai luong Stage Art
1.1.1.1. Cai luong Stage Art

Cai luong Stage Art is a form of the Peoples’ theater stage. This
form, including many different art forms, such as poetry, stage art
(including directors, actors/ actresses), music, fine art, dancing, and other
facts such as sound, voice, lightning, etc.
1.1.1.2. The Southern Cai luong Stage Art
The Southern Cai luong Stage Art (including the Eastern and the
West-Southern provinces) is a part of Vietnam Cai luong Stage Art.
1.1.2. The concept of Management Modes
1.1.2.1. Management Mode
Management Mode is the organizational and control mode and the
method of operations in order to make sure the continuous and effective
operation of a system, an organization.
1.1.2.2. The Government Management Mode
The Government Management Mode is based on the collective-
owned relationship of production materials and workforce. A direct
operation of production - trading activity in an economic unit under the
government’s general management and in law. It aims to make the
production and trading develop, assure and expand the capital, with the
more and more interest and expanding reproduction cope, to increase the
workforce’s income.
1.1.2.3. The Private Management Mode
* Theater Company
- 7 -
Theater company (stage) is a social organization of the artists of
Land Puppet, Water Puppet, Comedians resulting from the contribution of
many members or it is founded by a wealthy and powerful person in a
village.
* Theater Family
The free competition made most of the wealthy people who liked Cai
luong theater art found the group. The first managements were called the

group guarantors.
* The Private Management Mode
The Private Management is the organizational and control mode and
method of the operation of an individual as specific requirements under the
Government’s general management.
1.1.2.4. The Art and Cultural Operation Socialization
* Concept of Socialization
The Socialization of the social activity is the process of operation,
arrangement in order that the social subjects (individuals, groups,
organizations, communities, social organizations) can join consciously in
the social activities based on the awareness of their roles and positions in
every social activity, and then make the social activity suitable for the
society’s development.
* The Art and Cultural Operation Socialization
The Art and Cultural Operation Socialization, in fact is the
socialization of organizational and operational power of the art & cultural
production’s operation and arrangement in the trend of various
management subjects, in order to draw the crowd of the social forces, the
collectives and the individuals that stand for caring the cultural activity,
the organization and operation of the process of production under the law
of the government.
1.1.2.5. Management Mode
- 8 -
Management Mode is the description of the management mode’s
main features in order to study the management mode.
1.1.3. Regional Culture
The Natural and Social condition is one of the reason which speeds
up development of the culture. The geographic, humanity, social
background impacts, etc. are the facts which impulse the formation and
development of The Southern Cai luong Stage Art.

1.2. Cai luong Stage Art in the natural and social environment in
the Southern.
1.2.1. The Natural Environment
The process of formation and development of Cai luong Stage Art in
the Southern goes with the features of natural environment here. In the
earlier, the theater groups traveled by marine in the boats and did their
performances on an empty land, etc.
1.2.2. The Social Environment
The culture of migrates in the new land was the collection of cultural
memory and the communication in the social environment. The
communication and various transforms of the culture between Vietnamese
culture and the west, which was the direct exchange between Vietnamese
and French cultures, occurred in the Southern rather fast and widely.
It was that its self-structured process, eliminating the unsuitable
values in the new environment, and the development or the creation of
new values helped people exist and develop in the water-river plain, along
with the minorities with different cultural features, Cai luong Stage Art
came up then.
1.3. Progressive of The Southern Cai luong Stage Art
The forming progressive of The Southern Cai luong Stage Art was in
the current of the Peoples’ theater Stage.
- 9 -
1.3.1. The premises of Folk Culture in the formation of The
Southern Cai luong Stage Art
1.3.1.1. The Southern Classical Theater
In Vietnam Peoples’ tradition theater Art, the classical Theater is the
Peoples’ typical Stage Art.
1.3.1.2. The Folk performance forms
In the process of working and production and in the daily life, the
Southern farmers took an inspiration to create the various forms of the

Folk Performance in order to exchange their feelings, decrease their
tensions, difficulties.
1.3.1.3. The Royal Music, Ritual Music
Apart from the classical theater, the Royal Music composed by
confucians, musicians from Hue moved into the Southern. Some
compositions were used to offer sacrifices to the Spirits, in the funerals,
called the ritual music.
1.3.1.4. The Amatuer Performance
In the early XX century, the amateur performance derived from Hue
was publicized strongly. The Southern Amatuer performance was a form
which was formed in the late XIX century, and the early XX century in the
Southern. Because of their Root memory, the rhythm, the voice of the
amateur performance contained the sorrow and they were the people’s
favourites.
1.3.1.5. The Acting Singing
The first form of the Acting Singing was from Vinh Long, founded
by Professor Pho Muoi Hai, as known as Tong Huu Dinh. And then it was
developed by Mr. Nguyen Tong Trieu and successful in My Tho. It can be
said that it was the premise of a new form of the Peoples’ Stage Art - Cai
luong Stage Art.
1.3.2. The appearance of The Southern Cai luong Stage Art
- 10 -
After the night of 16
th
November 1918, firstly the guarantor Andrea
Than and then the guarantor Nam Tu who introduced Cai luong onto the
Stage. In 1922, it was the typical year in which the piece “Trang Tu thu
vo” (Trang Tu tried getting married) and the piece “Kim Van Kieu”
performed in My Tho Theater, next in Cho Lon Theater and then in
Morden Saigon.

1.3.3. Typical of The Southern Cai luong Stage Art
Typical of The Southern Cai luong Stage Art was singing. The
singing or playing the musical instruments in Cai luong Art remained the
acting. To reach the harmony of acting and singing, the style and the
performance of the piece had to be unified, containing the true feelings,
attracting the audiences into the details of the piece.
1.3.4. Production of Goods is a dynamic of the appearance of Cai
luong Stage Art
“The basic typical of the small goods production was that the direct
producer concurrently the production material owner (belonging to their
ownership or renting), the combination of their labour and the production
material in order to produce goods for sale”. Since the fact of Cai luong
Art showed that the money-owned people made the theater groups in order
to sell a special product - the pieces. The guarantors of Cai luong theater
groups came up from a landowner, capitalist, private businessman, etc.
Sub-conclusion
The formation of Cai Luong Stage Art in the late XIX century and
the early XX century was an obvious event because it was from the inside
of the Peoples and the people’s bringing up. The goods marketing
economy in the late XIX century and the early XX century in the Southern,
with the impact of the value regulation through the competition of supply -
demand, the consumption of the money, etc. From the management,
operation of the guarantors with a production and trading target of
- 11 -
products for sale in order to satisfy with the public’s entertainment in the
Southern, Cai luong Stage Art has been strengthened and completed
continuously in topic, style, content and art form.
Cai luong Stage Art was formed and developed based on its active
creation, it showed and found out the new of the Southern people. The
economic, political, cultural, social changes made changes in the

management; the private management in the competitive marketing
economy, and the guarantors’ management was the premise of Cai luong
Stage Art in the development in the next period.
Chapter 2
THE IMPACT OF THE MANAGEMENT MODES
IN THE ART PROGRESSIVE
OF THE SOUTHERN CAI LUONG STAGE ART
2.1. The Southern Cai luong Stage Art under the private
management mode from the beginning until 1975
2.1.1. The Southern Cai luong Stage Art derived from the
marketing mechanism of capitalism
The Southern Cai luong Stage Art was formed and developed (1918 -
1975) in the capitalism’s marketing mechanism of French colonialism,
American imperialism, therefore it was under the impact of the private
management mode. Besides the positive side, the private management
mode made a special product - the performance pieces with various
content and form. However, in the other hand, that unavoidable in the
goods production was the exploration of plus value. So the progressive of
The Southern Cai luong Stage Art was not excluded the rule.
2.1.2. The Southern Cai luong Stage Art under the impact of the
private management mode from 1918 to 1954
2.1.2.1. The political, economic, cultural - social background
- 12 -
The French colonialism wanted to make the Southern into a
commodity agricultural area, specializing in production of rice for the
world market exporting.
In the early XX century, My Tho was a cradle of the amateur
performance campaign and of The Southern Cai luong Stage Art. This was
the period with the convenient natural, cultural, social conditions to make
a new art form suitable for the Southern’s land and people.

2.1.2.2. The Southern Cai luong Stage Art in 1918 - 1954
* Composition and Orchestra
An acting singing, the composers did not compose the composition
but composed the lyrics based on the musical composition with a suitable
content, different feelings tones of the characters in a performance piece.
The classical orchestra was structured as an amateur performance
orchestra. Because of the sound fitness of the Guitar and the Violin for Cai
luong rhythm, they would be used to enrich the sound and rhythm for an
orchestra.
* Content and Form
Cai luong Stage Art since the beginning has been competitive
between the theater groups, opening of a new performance to attract the
audience, and it makes The Southern Cai luong Stage Art various in Art
form.
* The operation mode
- Management of creative force
The competition between the theater groups in signing a contract
with an author, “buying of the actresses, bribing the actors” was one of the
actions that the guarantor đi in order to expand the theater group’s
reputation and to affirm his theater management.
- Management of capital and material foundation
- 13 -
The guarantors themselves bought the boats to transport the
background screens, special tools and personnel in the group for their
performance. Some guarantors with big capital were willing to spend
money building the theaters.
- Management of performance business
With the highest benefit target, the guarantors followed the topic, the
aesthetic of the audience.
2.1.3. The Southern Cai luong Stage Art under the private

management mode from 1954 to 1975
2.1.3.1. The Economic, Political and Cultural-Social Background
In 1954, the Geneve Treaty was signed, our country was divided into
2 parts of the Southern and the Northern. The Southern became a new
colony of American Imperialist. The economy of the Southern had some
significant changes. That was the transforming period between French
Colonialism’s old colonial economy and American Imperialism’s new
economy.
2.1.3.2. The Southern Cai luong Stage Art in 1954 - 1975
* The Composition and orchestra
Continuously using the various classical Folk music of the Southern,
especially the songs with the Middle-part’s voice (Quang) and some short
songs, The new orchestra used the Piano or the Organ. The new orchestra
had 2 functions which played for a foundation of the new music and of the
performance. The old orchestra was still the soul of the performance.
* The content and form
The styles of Chinese performance, social, historical, swordsman,
hometown memorial performance, etc. were still used by the guarantors in
the theater groups.
* The operation mode
- 14 -
- Management of creative force
Each theater group had its own talented artists and standing authors.
Especially since the 1960s of XX century, the force of the Stage Theory
Review supplied their writings everyday on the situations of the theater
groups, the performance pieces, the artists’ examples, the guarantors, etc.
- Management of capital and material foundation
Many small capitalists stood for building theater groups. Some the
group’s guarantors used the famous artists’ name to call for investment.
- Management of performance business

The competition between the theater groups became stronger and
stronger because of their big investment capital. In this period, besides the
theater groups with the famous stars, most of theater groups was difficult
in competing with Kim Chung Cai luong Company.
2.2. The Southern Cai luong Stage Art under the impact of the
government management mode from 1975 until now
2.2.1. The Southern Cai luong Stage Art under the impact of the
government management mode from 1975 to 1986
2.2.1.1. The Economic, Political, Cultural-Social Background
The Victory in Spring 1975 opened a new era of our country, the era
of a peaceful, independent country and going ahead to Socialism.
However, some mistakes in economic guideline led our country into an
economic-social crisis, the inflation was serious and it made the people life
difficult.
2.2.1.2. The Southern Cai luong Stage Art in 1975 - 1986
* The composition and orchestra
Many Folk song rhythm with the improved rhythm of the musicians
presented on Vietnam Radio Station. The authors quickly put the improved
Folk rhythm into the Vietnamese classical theater and the performance
- 15 -
pieces. With the government’s subsidy, the public Cai luong units owned
the new and old orchestra more sufficiently than the non-public Cai luong
units’.
* The content and form
It met the requirements of the audience with a reformed stage of
content and form. The lively Cai luong Stage Art with various topics:
history, folk history, war, folk, etc., the content of a new era life breath
with high art quality.
* The operation mode
- Management of creative force

This was the period of trio: the composer, the director and the artist
whose names went with the theater group and the performance piece.
- Management of capital and material foundation
The public Cai luong units were granted with subsidy and the
material foundation. The non-public Cai luong units (collectives)’s capital
was self-granted and they gathered the workforce, asked for license from
Service of Information & Culture for their performance business.
- Management of performance business
The tickets were sold out regularly at the theaters, the outside stage
space was full. Each performance show with thousands of audience was
very popular at that time.
2.2.2. The Southern Cai luong Stage Art under the government
management mode from 1986 until now
2.2.2.1. The Economic, Political, Cultural-Social Background
The new guideline of our Party impacted positively the development of
the industry of productions and services. The economic-social situation from
1986 until now has directly and indirectly impacted the industry of Culture &
Art generally, and The Southern Cai luong Stage Art particularly.
- 16 -
2.2.2.2. The Southern Cai luong Stage Art from 1986 until now
* The composition and orchestra
It still used the old composition system. The quick and funny
compositions are used very much. It is transformed from the new songs
and they use the songs in the middle of classical theater lyrics. The new
and old orchestras support to each other in their performance shows.
* The content and form
Most of the performance pieces contain the content of love-story,
money story fairs, or the swordsman performance, hometown memory,
etc. which are very far from the reality. Some performance pieces with the
content for the politics purpose are hard and moral, etc. In the years when

the Stage was not controlled by the government, it made some hurried and
careless jobs that pulled the stage down seriously.
* The operation mode
Socialization of stage art operation is the revival not only for the
non-public units. This is an opportunity to improve the artists and the
service force’s lives.
- Management of creative force
The composer force is thin and weak. Many composing directors do
the work of the performance piece builders at the same time because the
play script source is too little and it has not good play scripts. The artists,
musicians, etc. of Cai luong are from many sources.
- Management of the capital and material foundation
The non-public Cai luong units were established continuously, called
the socialized theater groups which were entered independently and
privately and employed by the guarantors. The Information and Culture
industry only manage the piece’s content and operation orientation. Some
- 17 -
non-public units are operated and controlled directly by the managements
of the Information and Culture Service but the investment and the entering
are still controlled by the private management.
- Management of the performance business
In the late 1980s and the early 1990s, Cai luong theaters in Ho Chi
Minh City and in the West-Southern provinces gradually had less
audience. The model of stage operation socialization opened an exit for the
socialized units. However, the number of audience in the theaters was
unexpected.
Sub-conclusion
Being born in the capitalism’s goods economy, the theater groups’
guarantors invested their capital in building theater groups in order to do
business on the performance art. Since 1975 - 1985, our Party and

Government managed the Culture - Art Industry under 2 models of non-
public and public and they took Cai luong Stage Art into “the best period”.
The Stage Art became regular, professional. However, the subsidy, the
investing rate counted on per person in each local, this situation restricted
the activeness, creation of the Southern’s Culture - Art in the general
progressive of our country.
In 1986, our country came into a Reform and it was the time of
Vietnam Stage in a general difficult operation time. The Peoples’ theater
performance pieces had less audience. Cai luong Stage Art began to fall
into a crisis. In the present economic, political, cultural & social situation,
the Government Management Mode combing with the active, soft
socialization guideline will be the best mode and the good foundation for
Cai luong Stage Art’s consolidation and development.
- 18 -
Chapter 3
SOLUTIONS OF MANAGEMENT MODE REFORM
OF THE SOUTHERN CAI LUONG STAGE ART IN NEW AGE
3.1. The judgment of the implementation of The Southern Cai
luong Stage Art socialization policy
3.1.1. Socialization of Plays Stage Operation
Since our party and Goverment applied the socialization guideline of
Stage Operation, the socialized units of theater stage had been established
continuously and they achieved and they achieved some recognized
success.
3.1.2. Socialization of Cai luong Stage Operation
3.1.2.1. The Public Cai luong Units
* The Art Quality
The content was simple, not complicated, not difficult to understand
because the audience mostly enjoyed it for fun. Because of the play script
crisis, Cai luong Stage had to borrow the topic of the play by transforming

the play form into the theater form and because the composers followed
crazily the drama of the work but did not pay attention to the story-telling
and biography style of the Peoples’ theater performance form.
* The Operation Mode
- Management of the creation force
The creative force in the public Cai luong units such as the authors,
directors, artists, engineering workers, behind-the-scene workers, etc. are
paid and they get the rights regulated by the Government. Therefore, the
creation force in the units was stable, less varied.
- Management of the capital and material foundationt
The public Cai luong units had a stable material basic and the
subsidy granted by the government. In Ho Chi Minh City, Tran Huu Trang
- 19 -
theater with a strong creative force, with fixed performance locations.
Especially, the theater contains a supplying capable of many socialized
activities in different locations at the same time.
- Management of the performance business
Presently, the public Cai luong units manage the operation under the
saying “operating peacefully, not competitively”.
3.1.2.2. The non-public Cai luong Units
* The Art Quality
In the non-public Cai luong units such as Long An, Ben Tre, An
Giang, Vinh Long, Tra Vinh, Can Tho, Ca Mau, etc. the quality of
performance pieces was average, with the weak content because of the bad
play scripts.
* The Operation Mode
- Management of the creative force
The Stage socialization is an opening door in order that the creative
force can make for their living with their job. Since the cancelation of
working license, the artists, actors/ actresses perform completely freely. So

the stages are in the passive of artists and the performance piece’s quality
is affected very much.
- Management of the capital and material Management
In 1990 - 1995, a series of non-public Cai luong units were born. The
Cai luong Groups was completely active in material foundation as well as
its capital. Most of the West-Southern provinces have their own non-
public Cai luong units.
- Management of the performance business operation
To meet the entertainment requirements of the audience, Cai luong
Stage not only has many changes of content and art form but also changes
of the business form.
- 20 -
3.1.2.3. The success and the shortcomings of the public and non-
public model
* Public model
Some active units receiving the socialization guideline planned to
develop the effective implementation. However, most of the public units
had a stagnant operation, a relying, no activeness and depending on the
government’s subsidy.
* Non-public Model
The public units established the teams, groups of operation
socialization under the collective management mode. The members in the
unit contributed their shares, voted for the managements of executive, in
fact there were some initial effects. However, the units’ unification or
bankrupt depended on the fluctuation of market, less stable, durable, etc.
3.2. Solutions of The Southern Cai luong Stage Art development
in new age
3.2.1. Solution of The Southern Cai luong Stage Art management
mode
3.2.1.1. To the public model

The yearly expense grated by the government to the public units
compared with the real requirement was very little, therefore the public
Cai luong units need to be active to find out the effective operation to look
for the source of operation expense.
3.2.1.2. To the non-public model
The government need to give prompt Resolutions, Decisions which
are suitable for the situation and responsibility in each period. The propose
of the government’s budget, the raising fund from the social sources; the
participation, voluntary contribution of domestic and international
organizations and individuals and other legal supporting funds need to be
developed and implemented quickly.
- 21 -
3.2.2. Solution of Stage Works Quality Improvement
3.2.2.1. The creative force
Many authors without job, ability still wrote play scripts, so a few of
them had true value. Each Cai luong Unit was required to have its regular
director. Especially paying attention to the young directors, with inherent
ability, and inviting the well-known directors to build and combine with
the young directors to exchange, transmit and interact in working between
different generations. The building of the artists force is very essential.
It is required to push up the activity of review, combining with the
reality to induce into a theory. The training of young intellectual force with
the arrangement and reviewing theory of Stage are very essential, too.
3.2.2.2. The Stage Review Theory
It is required to push up the activity of review, combining with the
reality to induce into a theory. The training of young intellectual force with
the arrangement and reviewing theory of Stage are very essential, too.
3.2.2.3. The capital and infrastructure
The socialization guideline makes the art operation units find out
their suitable leads for their units under the government’s subsidy.

3.2.2.4. The performance business
To organize an effective business operation, it is required to consider
the art performance quality as the key, avoiding the situation of high
turnovers with a normal performance, and following a low art tasty of
some audience. It is required to have the marketing mode of Cai luong
Stage Art.
3.2.3. The audience of The Southern Cai luong Stage Art
It is required to study the tasty of the public to build promptly a
suitable art style, as well as to pay attention to the Art marketing mode,
etc. It is required to coordinate with the tourism activities to popularize Cai
- 22 -
luong Art widely in community, for everyone, every home, especially for
international tourists; it is required to organize conferences to introduce
Cai luong programs.
Sub-conclusion
Socialization of arts and culture sector has been actually proven
being a very sound policy which provide opportunities for State & non-
State art units to promote self-reliance, creativity, flexibility with more
operation practices. The socialization policy has created a favorable
environment for the art managers of Vietnam to acquire the state-of-art
management methods in the world present in order to improve the artistic
quality, while achieve economic target. However, due to characteristics of
the genre, Vietnamese traditional stage arts in general, Cai luong Stage Art
in particular can not keep pace with some other types of performing arts
overnight, which need time. The Southern Cai luong Stage Art (Tuong,
Cheo stage arts as well) is in much need of participation of the State to
enhance the preservation and development of this national art form.
By assessment of real activities of Southern Cai luong Stage today,
the dissertation proposes a number of solutions to solve difficulties, while
pointing out the positive direction for the stage art genre. The author of the

thesis has proposed three basic solutions involving the decisive factors for
the survival of Cai luong Stage, namely: management models, creative
team and audience. Solving well the three essential elements will open the
right direction for Southern Cai luong Stage Art, be consistent with the
development trend of the country and international integration.
CONCLUSION
1. The natural, social and human conditions of the South are the
potential land for many forms of cultural and spiritual activities to form
and develop. The Southern Cai luong Stage Art is the inevitable product of
Southern society in general and Vietnam society in general
- 23 -
2. In the course of history, The Southern Cai luong Stage Art has
experienced ups and downs, the artists, managers, however, with their
energy and creativity have found new ways. With the steadiness of the
managers, The Southern Cai luong Stage Art has been even more perfect
in terms of style, artistic features and performance mode. When favourable
conditions has come, the stage art form has risen strongly like the will, the
spirit, the internal strength of the Southern people.
3. The dissertation studied systematically about the impact of
management practices on the development of The Southern Cai luong
Stage Art throughout periods. Each management mode has an impact on
the content and form of art, which makes a change and bring
corresponding quality of art.
4. Socialization of stage operation has created momentum to
encourage the role of managers in the Renewal and Integration era. After
more than a decade socialization, however, The Southern Cai luong Stage
Art has not yet made significant achievements due to the specific nature
this form as well as its forces who are not dynamic and do not keep up
with trend changes of the times. It remains difficulties, challenges awaiting
to be solved by contemporary managers, artists.

5. In the market mechanisms in Vietnam now, artistic units should be
dynamic, flexible in their management mode for integration and
development, The Cai luong Stage Art should inherit, employ creatively
successes while limit the shortcomings of previous management modes.
6. To meet the Renewal Policy of the Party and State, stage arts
should have management modes which are flexible and suitable to the law
of development of the economy, politics, society of the country. One needs
to look at the artistic and cultural products in general and the Cai luong Art
in particular as special goods. State management methods with the aim of
- 24 -
preserving and promoting the value of artistic culture heritage will remain
the ones that lead, direct operation modes of The Cai luong Stage Art
today.
7. The dissertation suggests three solutions with highly practical
applications, they are: solution for management model of State & non-
State Cai luong Art units, solutions for improvement of theatrical works
quality, including: creative force, theatrical theoretical & critic force,
capital and infrastructure, performance business activities and solutions to
the audience of Cai luong Stage Art.
These solutions help managers make comparison, reference when
making suitable policies for the development of Southern Cai luong Stage
Art in the current period.
8. The inheritance, promotion of value of the management modes
and artistic features of The Southern Cai luong Stage Art to the social life
are a very practical act, which should be paid more attention.
9. The Southern Cai luong Stage Art is a part of the social life of the
Southern people and it is the national soul and, is the vitality of a nation.
By studying the nearly - a - century development of The Southern Cai
luong Stage Art, we has found the its role and value in Vietnam stage.
Issues of management modes of The Southern Cai luong Stage Art should

continue to be studied at the national level scientific work.