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Article

From Journey to Theatre: Unraveling the Influence of Traditional Chinese Opera’s Cultural Value on Tourists’ Behavioral Intentions

by
Yujia Zheng
1,
Gong Chen
1,
Zaijun Li
2 and
Meijuan Hu
1,*
1
School of Tourism and Cuisine, Yangzhou University, Yangzhou 225127, China
2
Research Institute of Central Jiangsu Development, Yangzhou University, Yangzhou 225009, China
*
Author to whom correspondence should be addressed.
Sustainability 2025, 17(4), 1544; https://doi.org/10.3390/su17041544
Submission received: 9 January 2025 / Revised: 3 February 2025 / Accepted: 7 February 2025 / Published: 13 February 2025
(This article belongs to the Topic The Multidimensional Synergy Measures to Achieve Sustainable Regional Socio-Economic Development)
Browse Figure
Figure 1
<p>Conceptual model.</p> ">
Versions Notes

Abstract

:
As a cornerstone of Chinese traditional culture, traditional Chinese opera encapsulates deep historical significance and embodies the national spirit, acting as a vital conduit for transmitting intangible cultural heritage. However, in today’s society, this art form confronts the challenge of becoming marginalized, underscoring the urgency for its revitalization and preservation. This study adopts a mixed-methods approach, integrating questionnaire surveys with semi-structured interviews, to explore how perceived value in opera culture shapes tourists’ behavioral intentions. Key findings include: (1) Emotional and socioeconomic perceived values significantly positively affect tourists’ intentions to revisit and recommend through the lens of cultural identity. (2) Conversely, aesthetic perceived value significantly negatively influences revisit intention when mediated by cultural identity but does not substantially impact word-of-mouth communication. These insights suggest that fostering emotional resonance and socioeconomic value perception among tourists is essential for positively strengthening their cultural identity and influencing their behavior. Additionally, there is a need to refine and enhance the aesthetic experience based on real-world encounters. Building on these conclusions, it is advised that opera troupes and tourist destinations innovate in presenting operas while the government bolsters policy support to boost market competitiveness and enrich audience experience design. In doing so, we can aid the rejuvenation of opera culture for the modern era.

1. Introduction

Among the world’s three ancient dramatic traditions that have endured into modern times, traditional Chinese opera is a singular art form rich in historical and cultural significance [1]. It is an essential component of the Chinese people’s spiritual life and a vivid representation of China’s outstanding traditional culture. Serving as a crucial vehicle for intangible cultural heritage and a vital source of spiritual sustenance, traditional Chinese opera holds an irreplaceable position in bolstering the nation’s cultural soft power.
Since July 2015, when the General Office of the State Council issued “Several Policies on Supporting the Inheritance and Development of Traditional Chinese Opera”, it has been officially recognized as a significant endeavor for expressing and preserving China’s excellent traditional culture [2]. This document laid down important guidelines and support frameworks for developing traditional Chinese opera. Building on this, in August 2021, the General Offices of both the Central Committee of the Communist Party of China and the State Council jointly released the “Opinions on Further Strengthening the Protection of Intangible Cultural Heritage” [3], reiterating the central role of intangible cultural heritage within China’s cultural fabric. The document underscored the urgency and importance of safeguarding and developing these heritages, signaling an increasing emphasis by the state on traditional Chinese opera and the gradual deepening and improvement of related policies.
Despite these efforts, traditional Chinese opera faces the peril of marginalization and challenges from various fronts in contemporary society [4]. Rapid advancements in media technology, transformations in modern lifestyles, the pervasive influence of Western culture, and adjustments in national cultural strategies exert varying degrees of pressure on traditional Chinese opera’s survival and development space [1]. Therefore, there is a pressing need to explore innovative approaches for transforming traditional Chinese opera while balancing principles of protection, inheritance, and development to reignite public interest in this art form. According to the 2022 China Performance Market Annual Report, the total box office revenue for traditional Chinese opera performances in 2022 was approximately 208 million yuan [5]. These performances are primarily concentrated in regions with rich cultural heritage, such as Beijing and Shanghai, and provinces like Jiangsu and Zhejiang. Recent trends also indicate a growing interest in traditional opera among younger demographics. A 2024 Intangible Cultural Heritage Opera Attention Trend Insights report reveals that over 67% of the audience interested in intangible cultural heritage opera belongs to the post-2000 and post-1990 generations [6]. This reflects the increasing appeal of traditional opera among younger audiences, driven by the Guochao (national trend) movement and promotion via modern digital platforms. These trends highlight the potential for engaging younger generations in preserving and revitalizing this art form.
Culture and tourism are intrinsically linked, with culture serving as the soul of tourism and tourism acting as the carrier of culture [7]. With the national strategy of integrating culture and tourism, empowering the inheritance of intangible cultural heritage has emerged as a new opportunity to drive the preservation and development of traditional Chinese opera. This integration offers important theoretical and practical references for research on combining traditional Chinese opera culture with tourism. From a tourism vantage point, traditional Chinese opera emerges as an immersive cultural phenomenon, providing visitors with an immediate encounter with China’s artistic and historical tapestry. Unlike many other forms of cultural performances that focus exclusively on visual or auditory elements, traditional Chinese opera uniquely merges diverse artistic expressions, including music, dance, literature, martial arts, and intricate costume design. This integration crafts a profoundly engaging and multidimensional experience for audiences. In contemporary settings, opera-themed tourist destinations such as the Kunqu Opera Town in Suzhou and the Mei Lanfang Memorial Hall in Beijing offer tangible ways for tourists to engage with this vibrant tradition. These sites play a crucial role in preserving cultural heritage and contribute significantly to local economic revitalization. Incorporating traditional opera into tourism strategies enhances the prominence of intangible cultural heritage, presenting it to a broader audience. Moreover, it fosters deeper cross-cultural interactions, especially appealing to international tourists increasingly seeking authentic and immersive experiences within China’s rich historical and artistic milieu. While there is considerable academic attention focused on ecological protection [8], inheritance [9], and breakthroughs [10] of local traditional Chinese operas, studies on integrating traditional Chinese opera with tourism remain relatively sparse. Existing research tends to concentrate on the protection and inheritance [11] and development and utilization [12] of traditional Chinese opera tourism resources, often focusing on the survival status and developmental pathways of regional opera styles [13], their presentation in tourist attractions [14], and the superficial integration of traditional Chinese opera culture as a tourism resource [15]. There is a notable lack of exploration into achieving a profound integration of traditional Chinese opera culture with the tourism industry along the path of inheritance, development, and revitalization.
This study aims to delve into the impact of tourists’ perceived value of traditional Chinese opera culture on their behavioral intentions through the lens of cultural identity from the perspective of the tourist market. By employing a combination of questionnaire surveys and semi-structured interviews, we seek to uncover which factors most significantly influence tourists’ interest in traditional Chinese opera culture and how to effectively design and implement tourism products and services that promote the activation and preservation of this art form. This research seeks to deepen our understanding of the internal mechanisms by which tourists’ perception of the value of traditional Chinese opera culture affects their behavioral intentions, thereby filling a gap in the related literature. Ultimately, the study provides valuable theoretical support for the traditional Chinese opera culture industry in Jiangsu and beyond, offering practical guidance to local governments and cultural tourism departments in policy formulation and project planning, thus facilitating the rejuvenation of traditional Chinese opera in the new era.

2. Literature Foundation and Research Hypothesis

2.1. Literature Foundation

2.1.1. Traditional Chinese Opera Performance

Traditional Chinese opera is a composite art form that integrates material elements such as scripts, stage design, and theaters with human-centric components like playwrights, directors, actors, and audiences. Among these, the roles of actors and audiences are paramount [16]. The direct sensory interaction between performers and spectators transforms stage language from mere dramatic text into a symbolic representation of the body or other physical elements. Unlike other arts—literature that appeals to language, painting to lines and colors, architecture to structure, sculpture to shape, music to melody, and film to light and shadow—the performance of traditional Chinese opera uniquely emphasizes the human body as its core element.
Drawing on Aristotle’s “Poetics” [17], this paper posits that the essence of traditional Chinese opera lies in its imitation of “human actions” or “people in action”. It highlights three fundamental attributes: performativity, spatiality, and participation. Notably, the participatory nature of the experience is intensely corporeal. In traditional Chinese opera, every attendee actively participates, experiencing a unique bodily engagement. Actors must first embody their characters through self-experience before conveying that physicality to co-performers and the audience. Spectators, too, participate actively, each undergoing a distinct bodily experience due to their presence within the performance space. In some performances, actors and audiences even engage in mutual gaze, with the show unfolding around the spectators. All participants’ physical behaviors and experiences become integral to the performance of traditional Chinese opera.

2.1.2. Theater

The theater serves as the venue for performing and watching plays, typically composed of a stage and seating areas for the audience, along with auxiliary spaces such as dressing rooms, lobbies, and restrooms [18]. Friedrich Schlegel offered one of the most comprehensive expositions of “theater”, describing it as a place where multiple arts converge to produce extraordinary effects. Here, sublime poetry is occasionally elucidated through refined acting, manifesting in eloquent speech and vivid scenes. Architects contribute grand decorations, painters provide perspective-driven illusions, and the music complements moods and enhances emotions already stirred by the performance. Ultimately, the theater presents a nation’s entire social and artistic civilization, showcasing millennia of achievements in just a few hours. It appeals uniquely across ages, genders, and statuses, remaining a beloved entertainment for intelligent and talented nations [19]. Influenced by Western practices and new theatrical conventions, the term “theater” has broadened to encompass “performance activities” [20]. However, in the context of this study, “theater” refers explicitly to the venues where tourists witness traditional Chinese opera performances.

2.2. Research Hypotheses

2.2.1. The Impact of Perceived Value of Traditional Chinese Opera Culture on Tourist Behavioral Intentions

Perceived value is a critical framework for understanding tourist behavioral intentions, focusing on tourists’ comprehensive assessment of the benefits received versus the costs incurred [21]. This concept has been extensively applied in tourism studies to analyze subjective evaluations of destination products and services [22,23]. Therefore, this paper posits that the perceived value of traditional Chinese opera culture reflects tourists’ overall evaluation of the provided products and services during their participation in traditional Chinese opera tourism.
Scholars have approached the measurement of perceived value through two primary lenses: holistic [24,25] and dimensional [26]. Based on Huang Yinghua [23] and Zhang Tao’s [27] classification of tourists’ perceived value dimensions, the perceived value of traditional Chinese opera culture can be categorized into emotional perceived value, aesthetic perceived value, and socioeconomic perceived value.
In an era of globalization, traditional Chinese opera serves as a spiritual home for the Chinese people, offering emotional belonging and cultural identity. With their unique dialects and melodies, local operas connect deep-seated nostalgia and collective memory, underscoring their distinct emotional significance. At the same time, traditional Chinese opera integrates narrative, music, performance, dance, special effects, set design, and costume art. It represents a sophisticated blend of multiple artistic elements, embodying traditional aesthetic concepts and serving as a carrier of cultural heritage. Its national characteristics and broad public engagement highlight its significant aesthetic value. Beyond aesthetics, traditional Chinese opera plays a crucial role in spreading traditional Chinese cultural values by distinguishing between good and evil, praising loyalty, and condemning treachery. The patriotic sentiments, virtues, and ideals it conveys are invaluable spiritual assets of the Chinese nation, demonstrating substantial socioeconomic value in modern society.
Recent research has increasingly focused on how perceived value influences tourists’ behavioral intentions. When tourism experiences meet or exceed expectations, tourists feel satisfied, enhancing their connection to the destination and increasing their willingness to consume further [28]. At large-scale cultural events [29] or traditional rural experiences [30], perceived value consistently emerges as a key antecedent to tourists’ behavioral intentions.
During traditional Chinese opera tourism, the historical and cultural context and the meticulously crafted environment provide tourists with a virtual space detached from daily life. Stage design, lighting, and sound effects amplify this detachment. Meanwhile, traditional Chinese opera performances’ profound narratives, emotional expressions, and vivid character portrayals create strong emotional resonance and psychological connections, facilitating immersive experiences. These experiences allow tourists to deeply appreciate traditional Chinese opera culture’s charm, enhancing their emotional, aesthetic, economic, and social values. According to immersion theory [31], such positive psychological experiences can generate high levels of pleasure, encouraging tourists to repeatedly engage in similar activities without losing interest [32]. Based on these insights, the following hypotheses are proposed:
H1a: 
Emotional perceived value positively influences tourists’ revisit intention.
H1b: 
Emotional perceived value positively influences tourists’ word-of-mouth willingness.
H2a: 
Aesthetic perceived value positively influences tourists’ revisit intention.
H2b: 
Aesthetic perceived value positively influences tourists’ word-of-mouth willingness.
H3a: 
Socioeconomic perceived value positively influences tourists’ revisit intention.
H3b: 
Socioeconomic perceived value positively influences tourists’ word-of-mouth willingness.

2.2.2. The Impact of the Perceived Value of Traditional Chinese Opera Culture on Tourists’ Cultural Identity

At its core, cultural identity reflects an individual’s sense of belonging to a particular culture and community and the extent to which they accept that culture [33]. It is also a psychological process by which group culture influences individuals and becomes internalized as part of their personality [34]. Scholars have categorized cultural identity into self-cultural identity (one’s own culture) and other cultural identity (another culture) [35,36,37], particularly in tourism studies where the focus has been on the local cultural identity of destination residents [38,39]. The experiences tourists gain during travel and their feelings about these experiences are pivotal in shaping or reinforcing the cultural identity of the local area [40,41].
There is a strong link between perceived value and cultural identity, with the former being a critical factor in forming the latter. In tourism activities, host–guest interactions, the value perceived by tourists, and their deep engagement with the experience lay the groundwork for forming cultural identity [42]. On the one hand, the cultural elements presented through tourism can be comprehensively experienced by tourists, leading to the establishment or reshaping of cultural identity through participation in cultural consumption and experience [43]. On the other hand, tourists can develop spontaneous cultural resonance by understanding the destination’s unique regional culture, spiritual outlook, and historical background, thereby deepening their identification with the local culture [44].
Emotional experience theory posits that emotional experience involves the emotional investment of tourists during the tourism process, constituting the emotional facet of the tourism experience [45]. During traditional Chinese opera performances, tourists form perceptions of value based on specific sensory stimuli involving deep emotional resonance and cognitive reconstruction. When immersed in characteristic local operas, tourists undergo an emotional experience that transcends everyday life, encompassing an appreciation of the art form and understanding its profound historical and cultural significance. This experience includes a range of emotional responses, such as being moved, shocked, or delighted, which shape their initial perception of traditional Chinese opera culture.
Moreover, emotional experience theory underscores immediate emotional responses [46], facilitating rapid connection-building between tourists and traditional Chinese opera during the tourism process and stimulating further exploration. As tourists delve deeper into traditional Chinese opera culture, they realize it is entertainment and a cultural expression laden with historical accumulation and social values. Ethical teachings, heroic spirit, and aspirations for a better life portrayed in classic plays can evoke profound emotional resonance within tourists, enhancing their cultural identity towards traditional Chinese opera. Based on this analysis, the following hypotheses are proposed:
H4: 
Emotional perceived value positively influences tourists’ cultural identity.
H5: 
Aesthetic perceived value positively influences tourists’ cultural identity.
H6: 
Socioeconomic perceived value positively influences tourists’ cultural identity.

2.2.3. The Mediating Role of Cultural Identity and Its Impact on Tourists’ Behavioral Intentions

Behavioral intention is a pivotal concept in studying tourist behavior, grounded in attitude theory. It represents an individual’s subjective assessment of the likelihood of performing a specific behavior [47] and is a critical bridge between psychological tendencies and actual behaviors [48]. In tourism research, behavioral intentions primarily encompass revisit intention [49,50,51] and word-of-mouth willingness [52]. Revisit intention reflects the probability of tourists returning to a destination, while word-of-mouth willingness measures their tendency to recommend the destination to others. Therefore, this study uses these two indicators—revisit intention and word-of-mouth willingness—to gauge tourists’ behavioral intentions.
Research has demonstrated that cultural identity significantly influences tourists’ behavioral intentions [53]. Cultural identity is crucial for tourists to achieve a sense of belonging and psychological satisfaction within a specific cultural context [33]. Specifically, cultural identity affects tourists’ behavioral intentions through several pathways. On the one hand, when tourists experience the uniqueness and appeal of the destination culture, they are more inclined to share their positive experiences with others, influencing others through word of mouth [38]. On the other hand, cultural identity strengthens emotional ties, making tourists more likely to revisit the destination and engage in repeat visitation behavior [54]. This effect has been validated across various cultural settings, including food culture [55], cultural and creative products [56], and intangible cultural heritage [57], all of which underscore the profound impact of cultural identity on tourists’ behavioral intentions.
The Stimulus–Organism–Response (S-O-R) theoretical model, proposed by Mehrabian and Russell (1974), provides a framework for understanding how external factors influence an individual’s cognitive or psychological state, leading to corresponding behavioral responses. According to this model, external stimuli first act upon an individual, producing a particular psychological state, which then prompts the formation of behavioral intentions and ultimately leads to actual behaviors [58]. In the context of traditional Chinese opera tourism, the S-O-R model elucidates the mediating role of cultural identity between tourists’ perception of traditional Chinese opera values and their behavioral intentions. Traditional Chinese opera provides entertainment and carries rich historical and social values. During visits to traditional Chinese opera destinations, tourists are stimulated by the cultural atmosphere, immersed in the cultural atmosphere, and gain insights into its unique regional culture, spiritual outlook, and historical background. This deep engagement fosters a strong cultural identity, reinforcing their emotional connection and desire to revisit or recommend the destination. Therefore, it is posited that cultural identity mediates the relationship between tourists’ perception of traditional Chinese opera values and their behavioral intentions. Based on this understanding, the following hypotheses are proposed:
H7a: 
Emotional perceived value positively affects tourists’ revisit intention through the mediating role of cultural identity.
H7b: 
Emotional perceived value positively affects tourists’ word-of-mouth willingness through the mediating role of cultural identity.
H8a: 
Aesthetic perceived value positively affects tourists’ revisit intention by mediating cultural identity.
H8b: 
Aesthetic perceived value positively affects tourists’ word-of-mouth willingness through the mediating role of cultural identity.
H9a: 
Socioeconomic perceived value positively affects tourists’ revisit intention through the mediating role of cultural identity.
H9b: 
Socioeconomic perceived value positively affects tourists’ word-of-mouth willingness through the mediating role of cultural identity.
H10a: 
Cultural identity positively affects tourists’ intention to revisit.
H10b: 
Cultural identity positively affects tourists’ word-of-mouth willingness.
Based on these hypotheses, this paper constructed a theoretical model illustrating the relationships among traditional Chinese opera cultural perceived value, cultural identity, and tourist behavioral intentions (Figure 1).

3. Research Design and Data Collection

3.1. Questionnaire Design

As an intangible cultural heritage, traditional Chinese opera embodies unique cultural memories of the Chinese people and is characterized by its inheritance and vitality [59]. The questionnaire designed for this study centered on the core features of traditional Chinese opera culture. It was structured into four sections: basic demographic information, the perceived value of traditional Chinese opera culture, cultural identity, and tourist behavioral intentions. The design process referenced established domestic scales, with adjustments and optimizations made to reflect the unique aspects of the perceived value of traditional Chinese opera culture. The dimension of perceived value was subdivided into three categories: emotional perceived value, aesthetic perceived value, and socioeconomic perceived value. These items were adapted from the works of Huang Yinghua [23] and Zhang Tao [27]. Cultural identity was considered a comprehensive dimension and was informed by the research of Chen Zhizhong [60]. Tourist behavioral intentions were examined through two sub-dimensions—revisit intention and word-of-mouth willingness—with items optimized based on the scale developed by Zhang Yuangang [61]. All dimensions were assessed using a 5-point Likert scale, ranging from “strongly disagree” to “strongly agree”.

3.2. Data Collection

We adopted a convenience sampling method for data collection, targeting tourists participating in traditional Chinese opera tourism and attending performances. The surveys were conducted on-site at well-known traditional opera tourism destinations, including Suzhou Kunqu Opera Town, Shaoxing Shengzhou Yue Opera Town, Linhai Donghu Scenic Area, and Fuzhou’s Wenchangli Historical and Cultural Street. These locations were selected based on their cultural and historical significance in traditional Chinese opera and their popularity among tourists, ensuring a diverse sample across different regions and demographics. While convenience sampling has inherent generalizability limitations, including multiple sites and a broad range of respondents enhances the external validity of the findings. To ensure data quality, well-trained researchers conducted the surveys in multiple phases. A pre-survey was conducted from 1 to 3 June 2024, in Suzhou Kunqu Opera Town, where 56 questionnaires were collected to assess the readability and reliability of the questionnaire items. Based on the pre-survey results, necessary refinements were made before proceeding with the full-scale survey. The formal data collection was then conducted in three additional locations: from 7 to 8 June 2024, 298 questionnaires were distributed in Shaoxing Shengzhou Yue Opera Town; from 9 to 10 June 2024, 120 questionnaires were collected in the Linhai Donghu Scenic Area; and from 16 to 18 June 2024, 80 questionnaires were distributed on Fuzhou’s Wenchangli Historical and Cultural Street, a site known as the “Hometown of Traditional Chinese Opera”. During data collection, researchers ensured that participants fully understood the survey content, clarified any ambiguities, and encouraged accurate responses. To confirm participant eligibility, the demographic section of the questionnaire was screened to include only those who had engaged in at least one traditional Chinese opera cultural tourism experience within the past year. Of the 554 questionnaires distributed, 481 valid responses were obtained after excluding 73 incomplete or invalid responses, resulting in an overall effective response rate of 86.82%.
SPSS 27.0 was employed to analyze the demographic characteristics of tourists in traditional Chinese opera scenic areas. As illustrated in Table 1, the sample predominantly consisted of female tourists (56.55%) aged between 19 and 41 years old (72.55%), with a high proportion of college students (61.33%). Occupations included employees of enterprises and institutions, freelancers, and students. The respondents exhibited youthfulness, balanced income levels, higher education, and concentrated professional backgrounds.
Moreover, the survey explored the respondents’ views on the most significant value of traditional Chinese opera culture for individuals. Results showed that 74.22% of tourists believed that the most significant value lay in inheriting historical culture, indicating that most respondents attached importance to the role of traditional Chinese opera as a carrier of tradition and recognized its significance in historical inheritance. This result suggests that the respondents generally acknowledge the significance of traditional Chinese opera as a cultural heritage, believing it can help people understand and appreciate China’s history and traditional art forms. It also reflects their respect and appreciation for traditional Chinese opera culture and the belief that this art form should be protected and passed down to continue playing a role in transmitting culture and values. The proportions of other options were relatively low, such as enhancing aesthetic taste at 7.69%, strengthening national identity at 7.28%, entertainment and relaxation at 8.73%, and promoting mental health at 2.08%. This indicates that although these aspects also had specific values, they were not the most essential parts in the eyes of the respondents. Overall, this survey result emphasizes the core role of traditional Chinese opera culture in inheriting historical culture and implies the respondents’ deep affection and high evaluation of traditional Chinese opera culture.
Additionally, the results of the respondent’s answers to the question “ What is the status of opera in modern society, in your opinion?” indicated that 58.63% of tourists believed that traditional Chinese opera culture remained important and was a cultural treasure. In comparison, 24.95% thought it was gradually marginalized and needed protection. Another 14.35% saw it as combining with modern elements for rejuvenation, and only 0.83% considered it outdated and no longer important. This suggests that most respondents believed traditional Chinese opera still held a high value and status in today’s society and should receive more attention and support so that more people can understand and appreciate this art form.

3.3. Dimensions of Tourists’ Perceived Value of Traditional Chinese Opera Culture and Their Interpretation

In this study, qualitative and quantitative data were integrated through a sequential explanatory strategy. Semi-structured interviews were conducted alongside the questionnaire survey to provide deeper insights into the quantitative findings. The results of the interviews were primarily used to interpret and validate the dimensions of tourists’ perceived value of traditional Chinese opera culture, reinforcing the rationale behind the questionnaire design. Specifically, the qualitative data helped contextualize patterns emerging from the quantitative analysis, ensuring that the constructs measured in the survey were firmly rooted in real-world experiences and perceptions. We applied a purposive sampling approach for the semi-structured interviews, selecting participants with direct involvement in or substantial knowledge of traditional Chinese opera tourism. Interviewees included managers, operators, cultural inheritors, and tourists, ensuring a well-rounded perspective. This method was particularly suitable for the qualitative component, as it allowed us to gather in-depth insights into the perceived value dimensions identified in the quantitative analysis.
It should be noted that the interview results were not used to formulate the questionnaire questions, nor were the survey responses used to shape the interview questions. Instead, the interviews served as triangulation, strengthening the credibility and explanatory power of the quantitative findings. This integration of methods allowed for a more comprehensive understanding of how tourists perceived and interacted with traditional Chinese opera culture within the context of cultural tourism.
During the questionnaire survey, semi-structured interviews were conducted with professionals such as managers, operators, inheritors of traditional Chinese opera culture, and tourists in traditional Chinese opera towns. The interview content focused on three aspects: the perceived value of traditional Chinese opera culture, cultural identity, and the transmission paths of traditional Chinese opera culture. These elements helped to interpret the dimension characteristics of tourists’ perceived value of traditional Chinese opera culture. Ten interviewees were selected (Table 2), numbered P01 to P10, according to the order of the interviews. Each interview was based on an outline, lasted about 47 min on average, and the total interview text amounted to approximately 110,000 words.
(1) Emotional perceived value refers to the emotional resonance and connection that tourists experience when they come into contact with traditional Chinese opera culture. In rural areas, traditional Chinese opera is not just a performance on stage but also an indispensable part of daily life. For example, one interviewee noted, “Traditional Chinese opera is integrated into life in the countryside. In our village, there are various small troupes of Yue Opera, and they incorporate it into our daily life.” (P05). When tourists engage with these emotionally charged performances, they are more likely to resonate emotionally, deepening their understanding and recognition of traditional Chinese opera culture and increasing their love and attention for it. Moreover, emotional perceived value is reflected in how traditional Chinese opera promotes local culture. Many regional operas carry rich local cultural characteristics, which can evoke tourists’ nostalgia and a sense of cultural belonging. An interviewee from Shengzhou, the birthplace of Yue Opera, shared, “When we were young and went out to work, to Shanghai or other places, many people from Shengzhou still have deep feelings for their hometown’s traditional Chinese opera culture. If you invite them to come here to watch the opera and travel, they will definitely come.” (P07). This emotional connection enhances tourists’ travel experiences and promotes the dissemination and promotion of traditional Chinese opera culture.
(2) Aesthetic perceived value reflects tourists’ feelings and evaluations of the aesthetic qualities of traditional Chinese opera culture during their experience. Traditional Chinese opera, as an essential component of Chinese traditional art, not only carries profound historical and cultural connotations but also showcases a unique aesthetic style: “I like the Peking Opera’s... The operas in the south tend to be more gentle and soft, while Peking Opera is more vigorous and powerful.” (P03). Different regional operas exhibit significant differences in aesthetic styles. Northern operas, such as Peking Opera, often give people a strong impression, while Southern operas are more delicate and graceful. These diverse aesthetic experiences can meet the diverse aesthetic demands of tourists. It is worth noting that despite the long history and rich connotations of opera culture, certain cognitive biases still exist among some groups: “Many people think that Yue Opera is something only elderly people listen to.” (P02). This view reflects some people’s misunderstanding of opera culture, believing it is only suitable for specific age groups. In fact, as a comprehensive art form, traditional Chinese opera contains rich cultural elements and aesthetic value and has the charm to transcend age boundaries. Therefore, strengthening the popularization and education of opera culture and eliminating stereotypes are crucial for enhancing the perception of its aesthetic value among many tourists. At the same time, with the development of the times and changes in society, traditional operas face the challenge of adapting to the aesthetic preferences of modern audiences, especially the younger generation: “Innovative plays should also be close to this era. If you are still limited to those old plays, it may be difficult to attract young people.” (P03); “I think it is necessary to cater to some modern young people’s tastes because opera culture may still have a certain distance from young people.” (P06). To maintain the vitality of opera art, opera troupes need to try new performance techniques and constantly innovate, pay attention to narrowing the distance between the younger generation and, through marketing strategies and interactive experiences that are closer to the lifestyle of young people, make the ancient form of opera better integrate into contemporary society, attract more attention from a young audience, and enhance its sense of identity and belonging to opera culture.
(3) The socioeconomic perceived value refers to tourists’ recognition and evaluation of the contribution of opera culture to local economic and social development. Opera culture has a profound historical background and artistic value integral to local culture: “Kunqu Opera has a long history and profound artistic value and is important in China’s cultural heritage.” (P09). Kunqu Opera, as a World Intangible Cultural Heritage, is a treasure of the Chinese nation and an important symbol of local culture. At the same time, promoting and developing opera culture tourism can significantly drive local economic growth: “I went to Kaifeng, Henan last month. Do you know that place? They did an excellent job with the Qingming Riverside Landscape Garden.” (P08). The successful case of this tourist attraction shows that by combining traditional culture with modern tourism, a large number of tourists can be attracted, and local economic growth can be effectively promoted. In addition, “Yue Opera is an important part of our local culture and deserves to be vigorously promoted.” (P05). Representative local operas like Yue Opera carry rich cultural connotations and embody the emotions and memories of local people. By increasing the publicity and promotion of local operas, residents’ cultural pride can be enhanced, leading to improved cultural identity and promoting social harmony and cultural prosperity.

4. Model Testing

4.1. Reliability and Validity Testing

The reliability and validity of the scales for the perceived value of opera culture, the cultural identity of opera culture, and willingness to consume opera culture were tested through internal consistency reliability and construct reliability. The reliability of these constructs was assessed through internal consistency and construct reliability. As illustrated in Table 3, Cronbach’s α coefficients for emotional perceived value, aesthetic perceived value, and perceived value of economy and society were 0.85, 0.85, and 0.82, respectively. The traditional Chinese opera cultural identity scale also achieved a Cronbach’s α of 0.88. The two dimensions of the cultural consumption behavior intention scale—revisit intention and word-of-mouth willingness—had Cronbach’s α values of 0.86 and 0.76, respectively. All these values exceed the commonly accepted threshold of 0.7, indicating high internal consistency reliability.
The suitability of the data for factor analysis was confirmed by a KMO value of 0.95 and Bartlett’s test of the sphericity significance level of 0.000 for the total sample data, as shown in Table 4. This suggests that the observed variables had a strong correlation, ensuring good data consistency for factor analysis. Table 3 shows standardized factor loadings ranging from 0.69 to 0.84 for convergent validity, all exceeding 0.5. The average variance extracted (AVE) for each latent variable ranged between 0.54 and 0.67, also surpassing the threshold of 0.5. Composite reliability (CR) values for each latent variable ranged from 0.76 to 0.88, all above 0.7. These results confirm that the measurement model demonstrates satisfactory convergent validity.
Regarding discriminant validity, as detailed in Table 5, the correlation coefficients among latent variables ranged from 0.65 to 0.69. Notably, the square root of the AVE for each latent variable significantly exceeded the correlation coefficient between that variable and others and surpassed 0.7. Thus, the measurement model exhibited strong discriminant validity. Overall, the reliability and validity tests affirmed the quality of the scales used in this research, providing confidence in the accuracy and precision of the findings.

4.2. Common Method Bias Testing

Additionally, we employed Harman’s single-factor test to assess the common method bias. Table 6 revealed that three factors had eigenvalues exceeding one prior to rotation, with the first factor accounting for 48.15% of the variance (below the 50% threshold) [62]. Therefore, it can be concluded that the common method bias did not significantly affect the findings of this study.

4.3. Hypothesis Verification

In this study, we constructed a mediation model encompassing the perceived value of traditional Chinese opera culture, the cultural identity associated with traditional Chinese opera, and the behavior intention related to traditional Chinese opera. To test our research model, we employed AMOS 27.0 for the analysis. As indicated in Table 7, the model exhibited an adequate fit with the data (CMIN/DF = 2.70, NFI = 0.91, CFI = 0.93, TLI = 0.92, IFI = 0.93, RMSEA = 0.06).
To further validate the hypotheses, we applied bootstrap methods to examine the path coefficients, thereby determining their significance and non-zero status based on p-values. According to Table 8, emotional perceived value positively influenced cultural identity (β = 0.83, p < 0.001), supporting H4. Conversely, aesthetic perceived value had a negative impact on cultural identity (β = −0.14, p < 0.05), which means H5 was not supported; however, it is noteworthy that the effect, albeit negative, still reached statistical significance. The perceived value of economy and society positively affected cultural identity (β = 0.23, p < 0.001), confirming H6. Moreover, cultural identity positively influenced revisit intention (β = 1.00, p < 0.001) and word-of-mouth willingness (β = 1.05, p < 0.001), validating H10a and H10b, respectively. However, several other hypotheses were not supported: emotional perceived value did not significantly affect revisit intention (β = −0.09, p > 0.05) or word-of-mouth willingness (β = −0.20, p > 0.05); similarly, aesthetic perceived value showed no significant influence on revisit intention (β = 0.03, p > 0.05) or word-of-mouth willingness (β = −0.01, p > 0.05); nor did the perceived value of economy and society significantly impact revisit intention (β = 0.02, p > 0.05) or word-of-mouth willingness (β = 0.01, p > 0.05).
The unexpected result regarding H5—that aesthetic perceived value negatively correlates with cultural identity—suggests tourists’ aesthetic experiences with traditional Chinese opera may not align with their expectations. This could be attributed to the relatively minor role of aesthetic perceived value in building cultural identity compared to emotional and socioeconomic perceived values. Additionally, the highly subjective nature of aesthetic experience implies considerable variability in tourists’ aesthetic standards and expectations, potentially leading to disappointment and thus hindering the development of a strong cultural identity with traditional Chinese opera.

4.4. Mediation Effect Test

To examine the effects of mediation, we utilized Amos 27.0 as our analytical platform, treating cultural identity as the mediating variable. Following Mackinnon et al.’s recommendations, we applied the bootstrap method with a sample size of 2000 and tested at a 95% confidence level. The results, detailed in Table 9, indicated that the total effect of emotional perceived value on revisit intention and word-of-mouth willingness had point estimates of 0.76 and 0.72, respectively. Since the 95% confidence intervals for these total effects did not include zero, they were deemed significant. However, the direct effects of emotional perceived value on revisit intention (−0.10) and word-of-mouth willingness (−0.21) were not significant, as their 95% confidence intervals included zero. Notably, both the Bias-corrected and Percentile methods showed that the indirect effects of emotional perceived value on revisit intention and word-of-mouth willingness were significant and fully mediated by cultural identity. Therefore, hypotheses H7a and H7b were supported.
Regarding aesthetic perceived value, the total effect on revisit intention was −0.16, with a 95% confidence interval that excluded zero, signifying a significant total effect. In contrast, the direct effect (−0.01) was not significant, as its confidence interval included zero. Both the Bias-corrected and Percentile methods indicated a significant indirect effect through cultural identity, supporting hypothesis H8a as a complete mediation effect. However, the total effect of aesthetic perceived value on word-of-mouth willingness (−0.13) was not significant, given that its confidence interval at the 95% level included zero, leading to the rejection of hypothesis H8b.
For the socioeconomic value, the total effects on revisit intention (0.29) and word-of-mouth willingness (0.29) were significant, as their 95% confidence intervals did not include zero. However, the direct effects (0.03 for revisit intention and 0.01 for word-of-mouth willingness) were not significant. Again, the Bias-corrected and Percentile methods revealed significant indirect effects through cultural identity, establishing hypotheses H9a and H9b as complete mediations.

5. Conclusion and Discussion

5.1. Research Conclusions

This study established a model linking tourists’ perceived value of traditional Chinese opera culture to cultural identity and behavioral intentions, which was validated using questionnaire data. The key conclusions are summarized as follows:
(1) Emotional perceived value significantly influences tourists’ consumption behavior intentions by mediating cultural identity. This finding is consistent with previous research [23]. Our findings indicate that the emotional resonance and investment derived from experiencing traditional Chinese opera can bolster tourists’ identification with this cultural form. This enhanced sense of identity fosters a deeper emotional connection between tourists and traditional Chinese opera, leading to more positive attitudes and behaviors, such as a greater willingness to revisit and recommend the culture to others.
(2) Socioeconomic perceived value significantly positively affects tourists’ consumption behavior intentions, also mediated by cultural identity. This result aligns with earlier studies highlighting the role of socioeconomic factors in shaping tourists’ behavior [27]. When tourists recognize the positive contributions of traditional Chinese opera to local economic and social development, they are more likely to develop a cultural identity with it. This, in turn, increases their support for and promotion of traditional Chinese opera, enhancing their intention to revisit and engage in word-of-mouth communication.
(3) Our study reveals a notable divergence from the existing literature regarding aesthetic perceived value. While many studies suggest that aesthetic value positively impacts behavioral intentions [27], our findings show that aesthetic perceived value negatively influences revisit intention when mediated by cultural identity, with no significant effect on word-of-mouth willingness. In our context, aesthetic perceived value pertains to tourists’ appreciation and experience of traditional Chinese opera’s aesthetics. While generally, aesthetic theory suggests that such value can deepen tourists’ experiences and emotional connections [63], the negative impact observed may be due to unmet expectations or relative insignificance compared to other perceived values. The high subjectivity of aesthetic experiences means that different tourists have varying standards and expectations, potentially leading to disappointment and reduced revisit intentions. Despite this, tourists may still recommend the culture based on other perceived values, such as emotional, economic, and social values.
(4) Cultural identity directly impacts tourists’ revisit intention and word-of-mouth willingness, further confirming the key role of cultural identity in tourism consumption behavior intentions [38,54]. When tourists develop a sense of identity with traditional Chinese opera culture, they establish a deep psychological connection with it, enhancing their support and dissemination behavior towards traditional Chinese opera culture.
(5) Tourism practitioners and cultural institutions should focus on creating rich emotional experiences when designing traditional Chinese opera tourism products to enhance tourists’ satisfaction and participation. Although the direct impact of aesthetic, economic, and social value may be relatively small, they still need to be carefully planned as part of the overall experience to ensure tourists’ comprehensive satisfaction and long-term market appeal. Comprehensively considering these value dimensions and customizing designs based on the target audience’s characteristics can stimulate tourists’ revisit and word-of-mouth willingness.

5.2. Practical Implications

This study highlighted that the perceived value formed by tourists during their engagement in traditional Chinese opera tourism significantly impacted their behavioral intentions through cultural identity. Based on this, the study offers the following practical implications for traditional Chinese opera troupes, tourist destinations, and government institutions.

5.2.1. For Traditional Chinese Opera Troupes

Traditional Chinese opera troupes should focus on innovating performance formats and integrating them into tourism experiences to enhance tourists’ sensory enjoyment and emotional connection, thereby increasing their emotional and aesthetic perceived value.
(1) The incorporation of advanced technologies such as virtual reality (VR) and augmented reality (AR) can create immersive experiences. For instance, troupes can develop VR applications that allow tourists to wear headsets and explore the virtual world of traditional Chinese opera, interact with characters, and influence plot development. Similarly, AR guides at theaters or scenic spots can offer augmented content, such as character profiles, plot analyses, and backstage insights, enhancing both the educational and entertainment aspects of the experience.
(2) Interactive performances can further elevate engagement by enabling audiences to influence plot developments through voting, quizzes, or live interactions. Troupes can also provide opportunities for tourists to participate in role-playing activities, such as wearing traditional opera costumes, learning basic movements and singing techniques, and performing short acts under professional guidance.
(3) Integrating multimedia technologies can modernize traditional opera while preserving its cultural essence. High-definition projections, surround sound, and dynamic staging can enhance visual and auditory appeal. Producing multimedia content, such as opera-themed films, animations, or web series, can expand the reach of traditional Chinese opera, particularly among younger audiences.
(4) Troupes can blend modern dance and musical styles into performances to create hybrid formats, such as dance operas or musicals, making traditional opera more accessible and appealing to contemporary tastes.
(5) Leveraging social media and online platforms can significantly amplify the impact of traditional Chinese opera. Regular live broadcasts, interactive online teaching sessions by renowned performers, and short video challenges centered on opera themes can engage younger audiences and generate viral cultural moments. These strategies can help traditional Chinese opera gain broader recognition and cultural relevance in the digital age.

5.2.2. For Tourist Destinations

Tourist Destinations should explore and integrate local traditional Chinese opera elements into their offerings to enhance visitors’ aesthetic and cultural experience.
(1) Establishing themed museums, such as the China Kunqu Opera Museum in Suzhou or the Beijing Opera Museum in the Huguang Guild Hall, can provide an immersive learning environment. These museums should combine traditional architectural styles with modern design elements and include interactive exhibits, such as VR/AR zones and hands-on workshops, where tourists can experience the charm of traditional Chinese opera firsthand.
(2) Opera-themed restaurants within scenic areas can create unique cultural dining experiences. Decorated with opera-inspired elements, these restaurants could feature servers dressed in traditional costumes, opera-inspired menus (e.g., dishes named after famous stories like “Farewell My Concubine” or “Drunk Beauty”), and live performances during meals, immersing diners in the rich cultural atmosphere.
(3) Developing traditional Chinese opera cultural villages as immersive experience centers can further enhance engagement. These villages could offer costume try-ons, makeup technique demonstrations, and essential movement practice. Tourists could participate in workshops led by professional instructors to learn skills such as traditional instrument playing, facial makeup painting, and prop making. Open-air theaters in these villages could host small-scale opera performances, script interpretation sessions, and role-playing activities, allowing visitors to participate actively in storytelling.

5.2.3. For Government Institutions

The government should implement more policies to support the preservation and development of traditional Chinese opera culture, establish a comprehensive cultural ecosystem, and enhance its socioeconomic perceived value for tourists. These efforts can be divided into three main areas: policy and financial support, education and training systems, and enterprise and social participation
The government can introduce tax breaks for traditional Chinese opera troupes and related cultural enterprises to reduce operational costs and encourage more significant investment in creating and performing opera art. In addition, establishing special funds to provide direct financial subsidies for the creation, performance, education, and research of traditional Chinese opera, especially for minority opera troupes, would ensure balanced cultural development. A traditional Chinese opera talent development fund could further support young artists’ training, advanced education, and international exchange while offering recognition and retirement security for senior performers. These initiatives would foster a sustainable talent pipeline and help preserve the art form for future generations.
In parallel, the government should promote the establishment of traditional Chinese opera colleges or add dedicated majors to existing art institutions, coupled with comprehensive talent development programs to attract outstanding artists and experts from both domestic and international contexts. By offering systematic education—including courses in opera history, singing, performance, music, makeup, and costume design—these institutions can ensure that younger generations master essential skills. Schools could collaborate with professional troupes to bridge theory and practice, providing internships where students can gain hands-on experience and accumulate stage exposure. A master–apprentice system can also facilitate skills transfer from senior to junior artists. For those already in the profession, continuing education and advanced courses can help them refine their craft. At the same time, retired artists could serve as guest lecturers, sharing their valuable expertise and experience to enrich the educational ecosystem further.
The government can encourage enterprises to actively participate in preserving and developing traditional Chinese opera culture by sponsoring opera troupes, performances, and educational projects while enhancing their brand visibility and reinforcing their image as socially responsible organizations. Furthermore, establishing or expanding public welfare foundations dedicated to protecting, researching, and promoting traditional Chinese opera culture would provide additional resources for its development. Encouraging public participation through volunteering, community performances, and cultural festivals can enhance social recognition and foster a deeper connection with traditional Chinese opera culture, ensuring it remains relevant and appreciated in contemporary society.

5.3. Shortcomings and Prospects

This study empirically explored how tourists’ perceived value of traditional Chinese opera culture influenced their behavioral intentions. It provided a more nuanced understanding by delving beyond superficial analyses that predominantly emphasize the resources and development of traditional Chinese opera tourism. The findings offered a fresh theoretical perspective for traditional Chinese opera tourism research and practical insights for opera troupes and tourism destinations. Moreover, the study laid a theoretical foundation for policymakers to design strategies to preserve and promote traditional Chinese opera culture.
However, several limitations remain. The research primarily developed its scale by drawing upon classical theoretical frameworks and the existing literature, focusing on the impact of tourists’ perceived value of traditional Chinese opera on their behavioral intentions. Future studies could enhance the depth of this research by incorporating moderating variables or conducting comparative analyses across generational groups, such as Millennials (Generation Y) and Generation Z. Additionally, the study identified a notable finding: aesthetic value perception has a significantly negative effect on revisit intentions. However, the underlying reasons for this remain insufficiently explained. Future research could adopt qualitative methods or experimental designs to investigate why tourists’ aesthetic experiences of traditional Chinese opera culture fail to meet their expectations, ultimately influencing their behavioral intentions. This would provide a deeper understanding of the discrepancies between cultural presentation and audience expectations, further enriching traditional Chinese opera tourism research.

Author Contributions

Conceptualization, Y.Z., M.H. and Z.L.; formal analysis, Y.Z., M.H. and G.C.; writing—original draft, Y.Z. and M.H.; writing—review and editing, M.H. and Z.L.; visualization, M.H. and G.C.; supervision, Y.Z., M.H., G.C. and Z.L.; funding acquisition, M.H. All authors have read and agreed to the published version of the manuscript.

Funding

This project was funded by the Natural Science Foundation of China (NSFC) (42301189) and Yangzhou University Qing Lan Project in 2024.

Institutional Review Board Statement

Not applicable.

Informed Consent Statement

Not applicable.

Data Availability Statement

The original contributions presented in this study are included in the article. Further inquiries can be directed to the corresponding author.

Conflicts of Interest

The authors declare no conflicts of interest.

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Sustainability 17 01544 g001
Figure 1. Conceptual model.
Figure 1. Conceptual model.
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Table 1. Descriptive statistics of the participants.
Table 1. Descriptive statistics of the participants.
VariablesOption DescriptionFrequencyPercentage (%)
GenderMale20943.45
Female27256.55
AgeBelow 18 years old306.24
19–30 years old21745.11
31–41 years old13227.44
41–60 years old9018.71
Above 60 years old122.49
Monthly income (RMB)Below 300010020.79
3001–50006212.89
5001–80009118.92
8001–10,0008417.46
10,001–15,0007114.76
Above 15,0007315.18
Educational backgroundJunior high school or below224.57
High school (including vocational school)8517.67
Undergraduate degree29561.33
Master’s degree or above7916.42
OccupationStudent9619.96
Teacher336.86
Corporate or institutional staff17837.01
Farmer51.04
Retiree204.16
Self-employed265.41
Freelancer11624.12
Other71.46
What do you think is the greatest personal value of opera culture?Inheriting historical culture35774.22
Enhancing aesthetic taste377.69
Strengthening national identity357.28
Entertainment and relaxation428.73
Promoting mental health102.08
What is the status of opera in modern society, in your opinion?Still important, a cultural treasure28258.63
Gradually marginalized, needs protection12024.95
Outdated and no longer important40.83
Combining with modern elements, revitalized6914.35
Uncertain61.25
Table 2. Interview sample characteristics.
Table 2. Interview sample characteristics.
Respondent IDAge Range (Years Old)OccupationInterview Duration (Minutes)
P0135–40Restaurant owner39
P0240–45Government official42
P0340–55Business manager47
P0435–40Taxi driver28
P0530–35Hotel manager56
P0630–35Employee at a public institution67
P0735–40Local resident37
P0840–45Yue Opera Town manager43
P0965–70Kunqu Opera inheritor55
P1030–35University professor53
Table 3. Reliability and validity analysis.
Table 3. Reliability and validity analysis.
VariableItemsStandardized Factor LoadingsAVECRCronbach’s α
Emotional perceived valueEPV10.800.600.860.85
EPV20.83
EPV30.74
EPV40.72
Aesthetic perceived valueAPV10.780.650.88 0.88
APV20.80
APV30.84
APV40.80
Socioeconomic perceived valueSEPV10.690.540.830.82
SEPV20.72
SEPV30.77
SEPV40.77
Cultural identityCI10.760.590.880.88
CI20.77
CI30.78
CI40.75
CI50.77
Revisit intentionRI10.780.670.860.86
RI20.84
RI30.83
Word-of-mouth willingnessWMW10.800.620.760.76
WMW20.78
Table 4. KMO and Bartlett’s test.
Table 4. KMO and Bartlett’s test.
KMO 0.950
Bartlett’s testApprox. Chi-Square6850.64
df231
Sig.0.000
Table 5. The correlations and average variance extracted.
Table 5. The correlations and average variance extracted.
VariableEPVAPVSEPV
EPV0.77
APV0.650.81
SEPV0.670.690.74
Bold values indicate the square root of the AVE, and other values are the correlations among latent variables.
Table 6. Common method bias test.
Table 6. Common method bias test.
ComponentInitial EigenvaluesExtraction Sums of Squared Loadings
Total% of VarianceCumulative %Total% of VarianceCumulative %
110.5948.1548.1510.5948.1548.15
22.189.9058.062.189.9058.06
31.185.3763.421.185.3763.42
4…
Table 7. Results of model fit test.
Table 7. Results of model fit test.
Fit IndexAbsolute Fit IndexIncremental Fit Index
χ2/dfRMSEANFICFITLIIFI
Fit criteria<5.00<0.08>0.90>0.90>0.90>0.90
Fit results2.700.060.910.930.920.93
Table 8. Results of hypothesis tests.
Table 8. Results of hypothesis tests.
PathEstimateS.E.CR.pLabel
EPV→CI0.830.0811.52***Accept
APV→CI−0.140.06−2.51*Accept
SEPV→CI0.230.073.86***Accept
EPV→RI−0.090.12−0.810.42Reject
EPV→WMW−0.200.15−1.430.15Reject
APV→RI0.030.080.350.73Reject
APV→WMW−0.010.06−0.180.86Reject
SEPV→RI0.020.070.360.72Reject
SEPV→WMW0.010.090.120.91Reject
CI→RI1.000.128.25***Accept
CI→WMW1.050.157.42***Accept
* and *** denote statistical significance at p < 0.05 and p < 0.001, respectively.
Table 9. Mediation effect test.
Table 9. Mediation effect test.
PathEstimateBias-Corrected 95% CIPercentile 95% CI
LowerUpperLowerUpper
Direct effectEPV→RI−0.10−1.190.33−1.640.30
EPV→WMW−0.21−1.450.36−2.080.30
APV→RI−0.01−0.210.30−0.190.38
APV→WMW0.03−0.210.46−0.190.52
SEPV→RI0.03−0.320.25−0.380.24
SEPV→WMW0.01−0.410.30−0.440.29
Indirect effectEPV→RI0.860.512.180.522.49
EPV→WMW0.930.482.310.512.79
APV→RI−0.14−0.54−0.02−0.59−0.03
APV→WMW−0.16−0.60−0.02−0.65−0.02
SEPV→RI0.260.080.690.080.65
SEPV→WMW0.280.090.770.090.73
Total effectEPV→RI0.760.620.930.630.95
EPV→WMW0.720.540.880.550.92
APV→RI−0.16−0.30−0.01−0.31−0.02
APV→WMW−0.13−0.330.06−0.330.05
SEPV→RI0.290.100.470.100.47
SEPV→WMW0.290.080.530.070.51
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Zheng, Y.; Chen, G.; Li, Z.; Hu, M. From Journey to Theatre: Unraveling the Influence of Traditional Chinese Opera’s Cultural Value on Tourists’ Behavioral Intentions. Sustainability 2025, 17, 1544. https://doi.org/10.3390/su17041544

AMA Style

Zheng Y, Chen G, Li Z, Hu M. From Journey to Theatre: Unraveling the Influence of Traditional Chinese Opera’s Cultural Value on Tourists’ Behavioral Intentions. Sustainability. 2025; 17(4):1544. https://doi.org/10.3390/su17041544

Chicago/Turabian Style

Zheng, Yujia, Gong Chen, Zaijun Li, and Meijuan Hu. 2025. "From Journey to Theatre: Unraveling the Influence of Traditional Chinese Opera’s Cultural Value on Tourists’ Behavioral Intentions" Sustainability 17, no. 4: 1544. https://doi.org/10.3390/su17041544

APA Style

Zheng, Y., Chen, G., Li, Z., & Hu, M. (2025). From Journey to Theatre: Unraveling the Influence of Traditional Chinese Opera’s Cultural Value on Tourists’ Behavioral Intentions. Sustainability, 17(4), 1544. https://doi.org/10.3390/su17041544

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