The Learning Organization

From corporate social responsibility, through entrepreneurial orientation, to

knowledge sharing: A study in Cai Luong (Renovated Theatre) theatre companies
Luu Trong Tuan
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Luu Trong Tuan , (2015),"From corporate social responsibility, through entrepreneurial orientation, to
knowledge sharing", The Learning Organization, Vol. 22 Iss 2 pp. 74 - 92
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TLO
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74
Received 12 September 2014
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Accepted 26 January 2015
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The Learning Organization
Vol. 22 No. 2, 2015
pp. 74-92
© Emerald Group Publishing Limited
0969-6474
DOI 10.1108/TLO-09-2014-0052
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From corporate social
responsibility, through
entrepreneurial orientation,
to knowledge sharing
A study in Cai Luong (Renovated Theatre)
theatre companies
Luu Trong Tuan
School of Government, University of Economics (UEH),
Ho Chi Minh City, Vietnam, and School of Management (SOM),
Asian Institute of Technology (AIT), Khlong Luang, Pathumthani, Thailand
Abstract
Purpose – This paper aims to examine the role of antecedents such as corporate social responsibility
(CSR) and entrepreneurial orientation in the chain effect to knowledge sharing among members of Cai
Luong theatre companies in the Vietnamese context. Knowledge sharing contributes to the depth of the
knowledge pool of both the individuals and the organization.
Design/methodology/approach – The relationships among the constructs in the research model
were established through structural equation modelling (SEM)-based analysis of cross-sectional data
from 226 respondents of Cai Luong theatre companies in Vietnam.
Findings – From research findings emerged the empirical proof for the positive effect of CSR on
entrepreneurial orientation, which, in turn, contributes to the sharing of knowledge among theatre
members.
Originality/value – Research findings increase the breadth of knowledge management literature
through the role of CSR and entrepreneurial orientation as activators of knowledge sharing.
Keywords Corporate social responsibility, Knowledge sharing, Entrepreneurial orientation
Paper type Research paper
Introduction
Movies, with more values created by new technologies such as animation and
three-dimensional methods, have been dominating over theatrical forms in the
Vietnamese context, especially Cai Luong (Renovated Theatre). Cai Luong is a theatrical
form created by Southerners on the Southern land of Vietnam based on “Don ca tai tu”
(informal performance by singers and musicians of traditional music in the Southern
communities) (Luu, 2014). This theatrical art, which used to appeal to hundreds of
theatre-goers every night in 1960s-1980s due to its high adaptability into modern plots
and melodies, has been in crisis (My Lam, 2010). This research focuses on Cai Luong
theatrical art on account of the government’s new efforts to build sustainable growth for
“Don ca tai tu” and Cai Luong following United Nations Educational, Scientific and
Cultural Organization’s certification of inscription of “Don ca tai tu” as Intangible
Cultural Heritage of Humanity (Luu, 2014). Furthermore, Cai Luong is a valuable
 context to research, as it can add richness to arts management literature which has Cai Luong
tended to focus on Western creative industries. Creative industries in Vietnam, theatre
especially Cai Luong theatrical art, have fallen into crisis due to lack of arts management
mechanism.
companies
The crisis of Cai Luong art has witnessed talent scarcity, which can be traced back to
the shift of Cai Luong talents to another creative industry. However, another reason
behind the current scarcity of talents in Cai Luong theatrical form in comparison with its 75
golden time is ineffective talent building, which partly results from low degree of
knowledge sharing in terms of singing and acting skills between actors or actresses, as
well as between theatre directors or playwrights (Do Hanh, 2010; My Lam, 2010). Such
talents in 1960s-1980s as Thanh Nga, Bach Tuyet, Le Thuy, Ut Tra On, Minh Phung and
Thanh Sang have been built on their individual efforts, as well as from knowledge
transfer for the optimal performance of both individual artists and the entire theatre.
Knowledge is the function of information, skills and cultural values (Rampersad,
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2001). Knowledge sharing hence also involves sharing of values such as acting ethics
that elevates actors and actresses to their career peaks in terms of acting expertise, as
well as audience-centeredness value. Knowledge sharing is a widely researched theme
in managerial literature. Its precursors encompass leadership (Bontis and Fitz-Enz,
2002; Riege, 2005; Yang, 2007), culture (Yang, 2007; Luu, 2012a), interaction (Connelly
and Kelloway, 2003) and trust (Abrams et al., 2003; Serenko et al., 2007; Renzl, 2008). The
role of corporate social responsibility (CSR) as a starting lever to leverage knowledge
sharing in Cai Luong theatre companies was investigated as the first aim of this
research. CSR, which is a stakeholder-oriented force (Lindgreen and Swaen, 2010)
driving organizational members to add to the organizational knowledge (Luu, 2013a)
and success, increases the generation, dissemination and absorption of knowledge as
the premise to transform the organization into a learning organization (Liao, 2006).
Entrepreneurial orientation (EO), with its sustainability nature (Schaltegger and
Wagner, 2011), can also produce sustainable outcomes such as organizational learning
or knowledge sharing, which has not gained adequate research attention. The second
research aim thus entails examining the role of entrepreneurial orientation in catalyzing
knowledge sharing among members in Cai Luong theatre companies, which leads to
touching plots and performance as the affinity to theatre-goers in South Vietnam where
this art was born as well as across the country (Luu, 2014). Furthermore, whilst
entrepreneurial orientation research has spun around organizational culture (Cornwall
and Perlman, 1990) or human resource practices (Morris and Jones, 1993) as precursors
to entrepreneurial orientation, the present research contributes to the convergence
between CSR research and entrepreneurship research by examining the impact of more
stakeholder-oriented tiers of CSR on entrepreneurial orientation in the chain effect to
knowledge sharing. The current research thus expands the influence spectrum of CSR
over entrepreneurial orientation and knowledge sharing.
Overall, the ultimate contribution of this empirical inquiry to knowledge
management literature is a model of knowledge sharing with CSR and EO as
stakeholder-oriented levers in a creative industry – Cai Luong theatrical form – which is
in need of a framework to magnify the transfer of performance skills from generation to
generation so that this theatrical art can surmount its downturn and thrive (Luu, 2014).
This section of the paper serves as the departure for the journey through literature to
build the hypotheses of the research model. The data and its analysis to confirm the
 TLO hypotheses are then displayed. The paper ends with theoretical and managerial
22,2 implications derived from the research findings on knowledge sharing and its
precursors in the context of Cai Luong theatres in Vietnam.

Literature review and hypotheses development

76 CSR and entrepreneurial orientation
CSR can become a source of enormous social progress, as a socially responsible
organization strategically applies its substantial resources, knowledge and values to
activities that benefit society (Porter and Kramer, 2006). McWilliams and Siegel (2001)
view CSR as actions that further some social good, beyond the interests of the
organization and what is demanded by law. Centring on stakeholders’ interests,
Hopkins (2007) defines CSR as being “concerned with treating the stakeholders of the
firm ethically or responsibly”. This is in line with “progressive view” that the firm is
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organized for the interest of society at large, or at least, has fiduciary responsibilities
that extend to a wide variety of stakeholders (Gabaldon, 2006). The “operational
discretion” model also holds that the law grants corporate leaders discretion to abide by
social and moral norms, even if doing so decreases shareholder profits (Elhauge, 2005).
On the contrary, shareholder primacy model (Fisch, 2006) views profit maximization for
shareholders as the fiduciary duty of a business organization (Reinhardt et al., 2008) and
even views CSR as a manifestation of moral hazard towards shareholders (Kitzmueller
and Shimshack, 2012). This shareholder model underlies the economic role of a business
organization as an economic engine of society (Carroll, 1979) and its economic CSR.
Reflecting all the above views, Carroll’s (1979) CSR model is composed of four
responsibilities:
(1) the economic responsibility to yield profits;
(2) the legal responsibility to adhere to local, state, federal and relevant international
laws;
(3) the ethical responsibility to meet other social expectations, not written as law;
and
(4) the discretionary responsibility to meet extra behaviours and activities that
society finds desirable (e.g. philanthropic initiatives).

These four corporate responsibilities are mapped to instrumental, political, integrative

and ethical theories (Garriga and Melé, 2004). Carroll’s (1979) view on CSR is also
expressed in the CSR pyramid which comprises four levels in the upward direction
including economic CSR, legal CSR, ethical CSR and discretionary CSR. These levels of
the CSR pyramid are consistent with layers from inside out of Luu’s (2012b, 2012c) onion
model.
Entrepreneurial orientation refers to the degree at which an organization is proactive,
innovative and risk taking (Covin and Slevin, 1989; Frishammar and Åke Hörte, 2007).
Entrepreneurial orientation and its components can solely be cultivated in the
organizational context in which organizationally beneficial orientation rather than
self-indulgent orientation predominates (Kapu, 2001). Field theory (Lewin, 1951) views
organizational context as the field with forces which activate or inhibit entrepreneurial
orientation. Such field forces as ethical CSR, which concerns social expectations of
businesses as demanded by stakeholders (Otubanjo et al., 2008) beyond self-interests
 (Luu, 2013b), will drive organizational members to act proactively and innovatively Cai Luong
with risk tolerance, for sustainable change of the organization and all its stakeholders. theatre
Self-oriented forces into their self-interests such as legal CSR or economic CSR (Luu,
2013b) will inhibit actions beyond their self-boundaries, thereby dimming
companies
entrepreneurial orientation in the organization. In the environment of legal CSR,
members confine themselves within ruling or contracting boundaries (Carroll, 1979).
They tend not to leave their safety zone or move beyond rules at the risk of errors, 77
leading to decreased risk-taking, innovativeness and proactiveness but increased
reactiveness. Entrepreneurial orientation mirrors “the organizational processes,
methods and styles that firms use to act entrepreneurially” (Lumpkin and Dess, 1996,
p. 139); however, error or risk-aversion style cannot enable the organization to act
entrepreneurially. Such self-inward forces are also less prone to produce
organizationally beneficial change which entails proactive and innovative activities.
Furthermore, legal CSR and entrepreneurial orientation cannot converge, as the former
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reflects controlledness, whereas the latter indicates flexibility (Lumpkin et al., 2009) and
creation of unbalancedness (unfreezing) for a new balanced level (refreezing) (Lewin,
1951).
Through the lens of agency theory, the degree of engagement in risky or innovative
activities corresponds to the governance of the organization (Fama and Jensen, 1983).
The governance which involves more social exchange will augment the innovative
engagement. In a similar vein, ethical CSR, which is guided by social exchange
framework (Blau, 1964), nurtures organizationally beneficial activities such as
entrepreneurial activities (De Clercq, et al., 2010). On the contrary, economic CSR built on
economic exchange framework inhibits members’ production and demonstration of
proactive ideas or actions. Members in the organization with legal CSR or economic CSR
tend not to produce and demonstrate perceptions of desirability such as proactive ideas
for the sake of stakeholders’ interests, reflecting low entrepreneurial orientation in the
light of intentions-based model of the social cognition of entrepreneurial teams
(Shepherd and Krueger, 2002).
Besides, autonomy has been reported as a strong predictor of entrepreneurial
orientation in the organization (Lumpkin et al., 2009). Autonomy, which is produced
through empowerment (Garavan et al., 2010) tends to thrive in the context where
interests of stakeholders are addressed. With stakeholder orientation (Luu, 2013a,
2013c), ethical CSR, which promotes not purely autonomy but also trust (Luu, 2013c) and
commitment (Smith and Langford, 2011), nurtures entrepreneurial orientation
(De Clercq et al., 2010). In contrast, legal CSR or economic CSR, which does not encourage
members to transcend contractual or calculative framework, tends not to heighten
autonomy in organizational members, thereby inhibiting entrepreneurial orientation.
Furthermore, ethics is an indispensable value which scholars embed into
entrepreneurial orientation (Harris et al., 2009). Ethical CSR therefore navigates
members to act entrepreneurially as the care for stakeholders’ growth rather than
experimenting new ideas for their own recognition. In the environment of ethical CSR,
members act entrepreneurially with responsibilities of risk control for the best benefits
for the organization. Members in the theatre company, contribute plot ideas or
variations of melody or singing with responsibilities to their theatre company as well as
Cai Luong theatrical form. Schwartz’s (1992) value theory also underscores value
compatibility in value growth. Ethical CSR and entrepreneurial orientation converge at
 TLO the stakeholder-oriented value, whereas legal CSR or economic CSR are more
22,2 self-oriented (Luu, 2013a, 2013b), diverging from utilitarian nature of entrepreneurial
orientation (Kapu, 2001). All the above waves of discussion converge into the following
hypothesis:
H1. Ethical CSR positively relates to entrepreneurial orientation, but legal CSR or
economic CSR negatively relates to entrepreneurial orientation.
78
H1a. Ethical CSR positively relates to entrepreneurial orientation.
H1b. Legal CSR negatively relates to entrepreneurial orientation.
H1c. Economic CSR negatively relates to entrepreneurial orientation.

Entrepreneurial orientation and knowledge sharing

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Entrepreneurial orientation is the degree of proactiveness, innovativeness and

risk-taking in an organization’s behavior (De Clercq et al., 2013). Proactiveness
component of entrepreneurial orientation produces learning momentum for seeking new
opportunities, introducing new products and brands ahead of competition, strategically
removing operations which are in the mature or declining stages of life cycle
(Venkatraman, 1989, p. 949). The learning momentum also emanates from
innovativeness component of entrepreneurial orientation which alludes to “a firm’s
propensity to engage in and support new ideas, novelty, experimentation, and creative
processes” (Lumpkin and Dess, 1996, p. 142). Risk-taking component of entrepreneurial
orientation, which entails opportunity seeking by committing significant resources
(Morris et al., 2007) including knowledge, also necessitates and promotes knowledge
accrual and transfer. Besides, opportunity recognition and information search, which
are deemed the initial crucial steps in the entrepreneurial process (Shane and
Venkataraman, 2000), foster knowledge gathering and sharing among organizational
members.
Behind knowledge sharing is the momentum to learn. Krauss et al. (2005), through
their empirical research, found that a component of entrepreneurial orientation is
learning momentum, with which entrepreneurial orientation activates the
knowledge-sharing process in the organization. Besides, entrepreneurial orientation
impacts not merely learning orientation (Real et al., 2014) but, more specifically,
acquisitive and experimental learning (Kreiser, 2011) as well. Knowledge sharing,
especially for the sustainable growth of the theatre, even necessitates strategic learning
capability – an organization’s competence at generating, and then acting on, strategic
knowledge (Anderson et al., 2009). Knowledge sharing in theatres may therefore be
cultivated through entrepreneurial orientation due to the direct impact of
entrepreneurial orientation on strategic learning capability (Anderson et al., 2009).
Furthermore, on account of their reflection in entrepreneurial orientation,
commitment and trust underpin the relationship between entrepreneurial orientation
and knowledge sharing. Entrepreneurial orientation has been found to relate to
organizational commitment (De Clercq and Rius, 2007), which leads to knowledge
sharing (Luu, 2013a). Components of entrepreneurial orientation, especially risk-taking,
mirror strong organizational trust. Besides, trust, conditioned by network density,
influences the nature and depth of interactions in a relationship (Kühne et al., 2013),
thereby cultivating the sharing of knowledge. When employees build close relationships
 with each other, they contribute a crucial amount of time to share ideas (Huang, 2009). Cai Luong
Intermittent relationships presumably engender feeble knowledge sharing (Szulanski, theatre
1996), as, if an employee assumes to have lasting relationship with others, he/she tends
to share her/his knowledge with them. In addition, because both reflect utilitarian,
companies
value-oriented contributions beyond member relationships (Kapu, 2001; Serenko et al.,
2007), entrepreneurial orientation and knowledge sharing meet as in the following
hypothesis: 79
H2. Entrepreneurial orientation positively relates to knowledge sharing.

Research methodology
Sampling and data collection
Respondents including actors, actresses, theatre directors and playwrights from 19
state-owned Cai Luong theatre companies and eight private Cai Luong theatre
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companies in South Vietnam produced a dataset for this research. Data collection was
conducted between August and November 2013. The respondents’ cooperation in the
research was initially elicited through telephone. After pre-test and modification, the
self-administered structured questionnaire and its cover letter were emailed to each
theatre member. A reminder email was relayed to non-responding theatre members 10
days following the initial emailing. In a snowball sampling process, the theatre members
were encouraged to relay the email to other theatre members who also belonged to the
target population of interest (Malhotra and Birks, 2006), i.e. theatre members with
concerns about proactive values cultivation and knowledge transfer.
In this research, out of 405 questionnaires administered to theatre members, 253
responses were returned, among which 27 responses contained missing data with the
rate of 10.67 per cent. From Hair et al.’s (2006, p. 55) standpoint, “missing data under 10
per cent for an individual case or observation can generally be ignored”; hence,
notwithstanding that the data are missing unreservedly at random (Little MCAR test:
chi-square ⫽ 1,728.25, df ⫽ 1,163, significance ⫽ 0.216), these 27 responses with missing
data rate higher than 10 per cent were removed, leading to 226 responses apposite for
structural equation modelling (SEM) analysis (Hair et al., 2006) for a usable response
rate of 55.80 per cent.

Measures
Respondents indicated their perceptions towards items measuring CSR, entrepreneurial
orientation and knowledge sharing. Items were gauged on a five-point Likert scale
anchored by “strongly disagree” (1) to “strongly agree” (5). The back-translation method
(Brislin, 1980) was also resorted to in the process of translating scale items from English
to Vietnamese.
Corporate social responsibility. A 22-item scale derived from Aupperle et al. (1985),
Maignan (2001) and Podnar and Golob (2007) was used to measure the three CSR
dimensions:
(1) economic CSR which comprises six items (e.g. Our theatre company is bound to
achieve maximum profitability);
(2) legal CSR with five items (e.g. Our theatre company obeys the law and
regulations in all circumstances); and
 TLO (3) ethical CSR with eleven items (e.g. Our theatre company conducts ethical
22,2 business despite being less economically efficient).

Entrepreneurial orientation. Adapted from measures by Covin and Slevin (1989) and
Miller and Friesen (1982), eight-item entrepreneurial orientation scale encompasses the
three dimensions:
80 (1) Proactiveness consisting of two items (e.g. Normally our theatre company
initiates changes upon which our competitors react);
(2) innovativeness with three items (e.g. Our theatre company has introduced a lot
of new plays in the past five years); and
(3) risk-taking with three items [e.g. Our theatre company has a strong tendency
towards getting involved in high risk projects (with a chance for high yield)].

Knowledge sharing. Knowledge donation and collection were each assessed through
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four items from Van den Hooff and Van Weenen (2004) and De Vries et al. (2006).
Knowledge donation items assess how willingly theatre members transfer or
disseminate knowledge to others (e.g. When I have learned something new, I tell my
colleagues about it), and knowledge collection items gauges collective beliefs or
behavioural routines as regards the spread of learning among theatre members (e.g. My
colleagues share their performance skills with me when I ask them to).
Control variables. Organizational size and organizational age were controlled due to
its predisposition to engender organizational inertia, thereby reducing the likelihood of
the organization’s change (Tushman and Romanelli, 1985) such as through
entrepreneurial orientation. Moreover, organizational size can relate to employee
attitudes and behaviours (Ragins et al., 2000). Ownership type was also controlled, as
different ownership types, which may shape different cultures (Luu, 2010), may
cultivate different levels of CSR (Han et al., 2013).

Findings
The descriptive statistics of the constructs and standardized factor loadings are,
respectively, exhibited in Tables I and II. The data harvested from the questionnaire
survey were analyzed through LISREL 8.52. The reliability of each construct and its
specific dimensions was assessed through Cronbach’s alpha coefficients. The composite
reliability of each research variable ranges from 0.72 to 0.81, above 0.6, as Fornell and

Standardized
Constructs/ No. of Cronbach’s loadings
dimensions items Mean SD alpha rangea ␹2 df NNFI CFI RMSEA

Ethical CSR 11 3.72 0.49 0.76 [0.73-0.82] 485.7 286 0.931 0.957 0.01
Legal CSR 5 3.57 0.53 0.77 [0.70-0.81] 514.2 221 0.928 0.963 0.06
Economic CSR 6 3.65 0.43 0.72 [0.69-0.79] 491.8 239 0.912 0.954 0.03
Entrepreneurial
orientation 8 3.74 0.57 0.81 [0.77-0.84] 426.4 274 0.934 0.956 0.03
Table I. Knowledge sharing 8 3.63 0.45 0.73 [0.68-0.77] 467.3 248 0.922 0.961 0.02
Descriptive statistics
of the constructs Note: a All factor loadings are statistically significant (p ⬍ 0.05)
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Standardized Average variance Construct

Constructs and measurement items loadings extracted (AVE) reliability

CSR
Economic CSR 0.624 0.72
Our theatre company [. . .]
takes profit as the theatre company’s mere concern 0.70
takes profitability as the only measure of effectiveness 0.79
always improves economic performance 0.74
works only for the shareholders’ interests 0.71
conducts business just for profit 0.69
is bound to achieve maximum profitability 0.71
Legal CSR 0.521 0.77
Our theatre company [. . .]
always conducts business in line with legal principles 0.79
obeys the law and regulations in all circumstances 0.70
not necessarily obeys the law at all costs 0.75
always submits to the newest legal principles as soon as possible 0.81
is only allowed to do what is explicitly permitted by law 0.73
Ethical CSR 0.658 0.76
Our theatre company [. . .]
actively seeks to reduce unemployment 0.81
offers job opportunities for vulnerable groups 0.77
has a clear politics for solving urgent social and societal problems 0.74
reinforces their voluntary activities for society welfare 0.77
plays a crucial role in projects aimed at quality of life improvement 0.73
considers moral standards on account of profit 0.82
conducts ethical business despite being less economically efficient 0.75
considers people, society, and nature before profit 0.73
checks every business decision in light of ethical standards 0.79
defines ethical standards and be faithful to them at all times 0.76
first meets all ethical business principles and then thinks of profit growth 0.74
(continued)

Table II.
81

factor loadings
companies
theatre
Cai Luong

and standardized
Construct measures
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82
22,2
TLO

Table II.
Standardized Average variance Construct
Constructs and measurement items loadings extracted (AVE) reliability

Entrepreneurial orientation 0.527 0.81

Our theatre company strongly emphasizes innovations 0.79
Our theatre company has introduced a lot of new plays in the past five years 0.81
The changes in our theatre company’s plays have been radical 0.83
Normally our theatre company initiates changes upon which our competitors react 0.77
Our theatre company is often the first to introduce new plays, new melodies, new singing styles,
new dances, etc 0.82
Our theatre company has a strong tendency toward getting involved in high risk projects (with a
chance for high yield) 0.78
Owing to the nature of the environment, bold, wide-ranging acts are necessary to achieve our
theatre company’s objectives 0.84
When confronted with decision-making situations involving uncertainty, our theatre company
typically adopts a cautious, ‘wait and see’ posture in order to minimize the probability of making
costly erroneous decisions (reverse coded item) 0.82
Knowledge sharing 0.594 0.73
Knowledge donation
When I have learned something new, I tell my colleagues about it 0.69
When they have learned something new, my colleagues tell me about it 0.68
I feel gain more than loss through knowledge sharing 0.72
Knowledge sharing among colleagues is considered normal in my hospital 0.75
Knowledge collection
I share information I have with colleagues when they ask for it 0.77
I share my skills with colleagues when they ask for it 0.74
My colleagues share knowledge with me when I ask them to 0.69
My colleagues share their skills with me when I ask them to 0.71
 Larcker (1981) recommend. Convergent validity was also achieved as the resulting Cai Luong
average variance extracted for each measure ranges from 0.521 to 0.658, above 0.5, as theatre
suggested by Fornell and Larcker (1981).
As displayed on the diagonal in Table III, the square root of the average variance
companies
extracted for each construct is higher than the standardized correlation between the
construct and each of the other constructs, which reflects the Fornell and Larcker (1981)
test is met for all pairs of constructs or discriminant validity is attained. 83
Construct validity was built on confirmatory factor analyses. Chi-square statistics
and three fit indices were used to assess two main components – the overall acceptability
of the measurement model and the significance of the factor loadings for each item. Such
indices as non-normed fit index (NNFI), Tucker–Lewis coefficient (TLI), comparative-fit
index (CFI) and root mean square error of approximation (RMSEA) were utilized to
evaluate the model. The fit indices with NNFI ⫽ 0.93, TLI ⫽ 0.95 and CFI ⫽ 0.95, which
exceed the 0.90 benchmark (Tabachnick and Fidell, 2001), pinpoint that the data fit the
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model. The level of misfit was also tolerable, with RMSEA ⫽ 0.02, below the relevant
benchmark of 0.10 (Browne and Cudeck, 1993). In addition, model fit is further
reinforced through ␹2/df ⫽ 496.2/258 ⫽ 1.92 which is under 2 (Byrne, 1989, p. 55). Path
coefficients between variables are presented in Table IV.
To examine the impact of control variables (organizational size, organizational age
and ownership type), these variables were entered as a single block in the first step. The
first step of the hierarchical regression analysis reflects that organizational size (␤ ⫽
0.037, p ⬎ 0.10), organizational age (␤ ⫽ 0.012, p ⬎ 0.10) and ownership type (␤ ⫽ 0.059,
p ⬎ 0.10) have no significant correlation with the degree of knowledge sharing. The
control variables together accounted for 1.8 per cent of the variance in knowledge
sharing (R2 ⫽ 0.018, p ⬎ 0.10).

Constructs/dimensions 1 2 3 4 5

1. Ethical CSR 0.81

2. Legal CSR 0.55 0.72
3. Economic CSR 0.57 0.69 0.79
4. Entrepreneurial orientation 0.71 0.66 63 0.73
5. Knowledge sharing 0.63 0.47 0.72 0.62 0.77
Table III.
Notes: The figures corresponding to square root of AVE for each column construct is captured in bold Discriminant validity
along the diagonal; other figures are the correlation between two constructs matrix

Path Z
Hypothesis Description of path coefficient statistics Conclusion

H1a Ethical CSR ¡ Entrepreneurial orientation 0.302** 2.96 H1a (⫹): S

H1b Legal CSR ¡ Entrepreneurial orientation ⫺0.207* ⫺2.01 H1b (⫺): S
H1c Economic CSR ¡ Entrepreneurial orientation ⫺0.163* ⫺1.57 H1c (⫺): S
H2 Entrepreneurial orientation ¡ Knowledge sharing 0.334** 3.52 H2 (⫹): S Table IV.
Findings from the
Notes: Model fit: ␹2 ⫽ 496.2, df ⫽ 258; NNFI ⫽ 0.93; TLI ⫽ 0.95; CFI ⫽ 0.95; RMSEA⫽ 0.02; tests of structural equation
hypotheses are one-tail tests; * p ⬍ 0.05; ** p ⬍ 0.01; S ⫽ supported; NS ⫽ not supported model
 TLO Ethical CSR was confirmed to have a positive correlation with entrepreneurial
22,2 orientation (H1a: 0.302, p ⬍ 0.01); nonetheless, legal CSR or economic CSR mirrors
negative and significant coefficient (H1b: ⫺0.207, p ⬍ 0.05; H1c: ⫺0.163, p ⬍ 0.05) in its
relationship with entrepreneurial orientation. This is consistent with the views that
ethics and entrepreneurship are closely aligned (Harris et al., 2009) and entrepreneurial
success necessitates moral imagination (Dunham et al., 2008). Ethical CSR, which
84 concerns social expectations of businesses as demanded by stakeholders (Otubanjo
et al., 2008) beyond self-interests (Luu, 2013b), steers organizational members to act
proactively and innovatively with risk tolerance, for sustainable growth of the
organization and its stakeholders. In contrast, legal CSR or economic CSR tends to
inhibit actions beyond their self-interests (Luu, 2013b), thereby hindering
entrepreneurial orientation in the organization.
Positive and significant correlation coefficient between entrepreneurial orientation
and knowledge sharing (H2: 0.334, p ⬍ 0.01) verified H2. This research result is in line
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with that of Hakala’s (2013) report on the relationship between entrepreneurial

orientation and learning orientation. Knowledge sharing mirrors learning momentum.
Krauss et al. (2005) also empirically found that a component of entrepreneurial
orientation is learning momentum. Entrepreneurial orientation thus activates the
knowledge-sharing process in the organization.

Discussion and conclusion

Theoretical implications
CSR has been empirically reported to be a strong predictor of behaviours from
individual to organizational level (Hansen et al., 2011); however, the convergence
between CSR literature and entrepreneurship literature still has been a poorly-cultivated
land. CSR, with its sustainable orientation (Jamali, 2008), steers members’ behaviours to
the organizational futuring, rather than short-sighting their actions at the reactive tier.
Proactiveness and innovativeness, which are activated through CSR initiatives, move
theatre members, including playwrights, stage directors and artists, beyond blockages
of the view that Cai Luong theatrical form is the art of traditional melodies even though
the creative fusion of modern music stream with traditional melodies on Cai Luong
theatre stages emerged in 1960s. Exploring the interconnection between CSR and
entrepreneurial orientation in creative industries, in general, and in Cai Luong theatrical
form in the Vietnamese context in particular adds to the depth of CSR literature.
On the other hand, the current research also extends entrepreneurship research
through the addition of CSR as a precursor to entrepreneurial orientation. Prior studies
on entrepreneurship have tended to focus on such organizational antecedents as
transformational leadership (Ling et al., 2008) or adhocracy culture (Engelen et al., 2014).
Nonetheless, stakeholder-oriented forces for EO such as ethical CSR as in the present
research has remained ill-explored. Future EO research should incorporate into the
current research model such stakeholder-oriented antecedents as corporate governance
at the organizational level (Brennan and Solomon, 2008) or organizational citizenship
behavior or psychological contract at the individual level.
Research on organizational learning and knowledge management has underscored
the role of a supportive learning environment in activating knowledge sharing in the
organization (Garvin et al., 2008), but has not portrayed the chain effect from CSR to EO
in a knowledge sharing framework. Furthermore, through the chain effect from CSR,
 through entrepreneurial orientation, to knowledge sharing, the present research Cai Luong
broadens knowledge management literature by unveiling the role of CSR in creating Cai theatre
Luong talents with the soul of the country in their singing, and the activating power of
entrepreneurial orientation in knowledge transfer in creative industries such as Cai
companies
Luong art. It is high levels of proactiveness, innovativeness and risk-taking in
entrepreneurial orientation (Covin and Slevin, 1989; Frishammar and Åke Hörte, 2007)
that drive theatre members to think out of the box towards others, and open “the box” to 85
share, thereby cultivating knowledge sharing as part of overall organizational values
(Bontis and Serenko, 2009).

Managerial implications
Touching scripts, creative direction and impressive acting and singing are building
blocks for the success of each theatre performance and the entire theatre company,
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especially in Cai Luong art. Nonetheless, actors and actresses in this theatrical art
cannot move to the peak of acting and singing creativity without incessant learning
from playwrights, stage directors and mentors. Cai Luong art, as it name reflects [“Cai
Luong” means change for better (Sino-Vietnamese “cai” and “luong” mean “change” and
“good”, respectively)] (Khe, 2004), entails dynamic adaptations with variations in
singing based on the framework of Vong Co song – a ravishingly beautiful love lament
written by the musician Cao Van Lau in 1920 (Brandon, 1967, p. 76). Actors and
actresses thus have to learn to create distinctive individuality in their singing in terms of
pitch, timbre, intensity and duration (Owen, 2000, p. 6). Sources of knowledge can be
playwrights or theatre directors, but more crucially, musicians and other actors and
actresses. Nevertheless, performance skills are less prone to flow from these sources
towards actors and actresses without driving forces such as entrepreneurial orientation.
A Cai Luong theatre company should be the place where novel ideas as regards scripts,
acting and singing from theatre members are welcomed, activated and selectively
incorporated into Cai Luong plays. Theatre leaders should not hold on to the “antique”
view that Cai Luong art is a traditional theatrical form like Cheo or Tuong, though songs
in a Cai Luong play are built mostly on folk melodies. Cai Luong art mirrors a high level
of creativity with strong absorption of modern music. Leaders therefore should inspire
actors and actresses to produce more creative variations and styles of singing and acting
and share these new variations and styles with colleagues, not to encourage their
mimicking but inspire their creation of more singing variations for their own branding
and Cai Luong art as well, as, currently, widespread copying in creative industries in
Vietnam setting (Do, 2012), has been ruining individuality in Cai Luong actors and
actresses. With this tendency, they cannot build their brand in the audience’s awareness
and association (Aaker, 1991) like former generation actors and actresses such as Ut Tra
On with rusticity in his voice, Ut Bach Lan with melancholy in her voice and Thanh Nga
with touchingness in her voice (Nguyen, 2010).
Because ethical CSR cultivates entrepreneurial orientation as mirrored in the
research findings, theatre leaders should adopt transcendent leadership, such as
transformational leadership (Bass, 1985), to activate high tiers of CSR (Luu, 2012c),
thereby inspiring theatre members to the mission of attracting the audience back to Cai
Luong theatres for the sustainable evolution of this theatrical art. Leaders’
communication of the mission to members should underscore social responsibility of
artists towards this heritage of the country which numerous generations of actors and
 TLO actresses have devoted their talents and efforts to. Communication of the mission should
22,2 include legends of former generation artists who added to the beauty of Vong Co song –
the spinal song of Cai Luong art – such as Ut Tra On who transformed its eight beats per
measure to sixteen beats.

86 Limitations and future research directions

Any research contains latent limitations with no exception to our research. In view of our
specific sample of Cai Luong theatre companies in South Vietnam, the generalizability of our
findings might be limited to Cai Luong art and comparable cultural contexts. In other words,
they are not necessarily generalizable to Cai Luong theatre companies in North Vietnam,
which may have different organizational culture patterns from those in South Vietnam (Luu,
2010), and to other traditional theatrical forms such as Cheo or Tuong.
Organizational behavior is dynamic by nature (George and Jones, 2000); nonetheless,
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the dynamic interaction between CSR, entrepreneurial orientation and knowledge

sharing is not addressed in the research data. Because values consistently impact
behaviours (Rokeach, 1973), whether ethical CSR value consistently elevates theatre
members to higher levels of entrepreneurial orientation and knowledge sharing should
be investigated through experience sampling methodology (Ilies and Judge, 2002) in
future research. Furthermore, limitations of this research embracing its cross-sectional
nature and the use of perceptual instruments should be surmounted through further
testing of the findings (Luu, 2011). Longitudinal research designs, in which all the
variables are gauged at different points in time, can further test the survey results as
well as more thoroughly address the causal path of the interconnections among the
variables (Wilderom et al., 2000). Longitudinal study would assess the long-term and
diminishing effects of CSR initiative, as well as potential lags between CSR,
entrepreneurial orientation and knowledge sharing.
Furthermore, this empirical inquiry, which verified the chain effect from CSR,
through entrepreneurial orientation, to knowledge sharing, should be replicated in
theatre companies in other theatre forms, especially traditional musical theatre
forms in Vietnam context, such as Cheo or Tuong. The research findings should also
be re-examined in other Vietnamese creative industries including movies and music.
Knowledge sharing in theatre companies, as this research divulges, can be traced
back to CSR as an initial antecedent. Future research on knowledge management in
creative industries should also fathom the role of other stakeholder-oriented levers such
as emotional intelligence. Emotional intelligence with the propensity to develop others
and catalyze change (Goleman et al., 2007) may activate the mediating role of
entrepreneurial orientation in the process of knowledge sharing. The mediating role of
psychological contract between emotional intelligence and knowledge sharing (Luu,
2013d) should also be investigated, as O’Neill and Adya (2007) found the effect of
implicit psychological contract on knowledge worker attitudes for sharing knowledge.
Furthermore, entrepreneurial orientation, leveraged by CSR in theatre companies, can
promote idiosyncratic deal or i-deal – a form of proactive individual negotiation with the
employer (Rousseau et al., 2006) for higher flexibility (Rosen et al., 2013) and creativity
in acting. The role of CSR and entrepreneurial orientation in fostering i-deals among
actors and actresses in theatres can be an inspiring research path.
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About the author

Luu Trong Tuan is currently a Business Administration (BA) Lecturer at School of Government,
University of Economics, Ho Chi Minh City, Vietnam. He received his medical doctor degree from
University of Medicine, Ho Chi Minh City, Vietnam; master degree from Victoria University,
Australia; and PhD in management from Asian Institute of Technology (AIT), Thailand. His
research interests include organizational behaviour, performance management, business ethics
and health-care management. He has published in numerous journals such as Personnel
Review, Knowledge Management Research & Practice, Journal of Organizational Change
Management, International Journal of Shipping and Transport Logistics, Management
Decision, Journal of Strategic Marketing, and Service Business. Luu Trong Tuan can be
contacted at: luutrongtuan@vnn.vn

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