In this article Lin Chen seeks to locate the experimental chuanju production Qingtan (Sighing), directed by and starring Tian Mansha, in its special socio-political context. Based on a detailed performance analysis, she explores the aesthetics of the production and how it interweaves different performance cultures while referring continually to the deep wound of the Cultural Revolution, still felt by a significant number of ordinary people in mainland China. But while the production fully intends to present the trauma of the Cultural Revolution, it barely touches the wound of the past that it evokes. This is so because of the pervading presence of the xiqu idea of beauty, current dualistic political discourse, institutional difficulties, and, most of all, the fact that the collective cultural trauma at issue has not yet been properly articulated in Chinese culture and society. Lin Chen is an assistant professor of the Qingdao Institute of Humanities and Social Sciences, Shandong University. She completed her doctorate at the Freie Universität, Berlin. Her research interests include the aesthetic ideas of Leibniz and their far-reaching influence, the aesthetics of performativity, interweaving performance cultures and cultural studies.1