Challenging China’s official history since the establishment of the People’s Republic in 1949 is uncommon among Chinese theatre makers in the twenty-first century. Given the stringent rules that severely limit artistic expression, such attempts are rare and, aesthetically, noticeably obscure. Director Wang Chong (b. 1982) and his collective Théâtre du Rêve Expérimental nevertheless embark on an audacious journey of deconstructing and reassembling some of China’s most taboo historical moments in their productions The Warfare of Landmine 2.0 (Dileizhan 2.0, 2013) and Lu Xun (Da xiansheng, 2016). Wang’s critical reconfiguration of deliberately forgotten violent events from the Maoist and post-Maoist eras is articulated onstage through the intermediation of far more visible and “stage-safe” historical moments that predate Maoist China. While obscuring the direct messages of the performances, Wang’s cunning technique of contesting Beijing’s memory of politically sensitive events manages to unearth “hidden” violent moments of which many Chinese youth today may be completely oblivious.

The Sino-German coproduction Mouzhong leisi yu wode didong: xinshi pianduan explores the medical process of a heart transplant and its aftermath through the Foucauldian theoretical framework of the “clinical gaze.” The doctors’ “biomedical reductionism” is caricatured for its lack of humanness; patients’ physical and emotional agony denies the possibility of peaceful coexistence of the human self and technology. Cynical irony is one way of coping with the identity loss, pain, and techno-human condition of organ-transplant survivors.