This article investigates two recent modern kunqu productions, Dang Nian Mei Lang [The Young Mei Lanfang] and Qu Qiubai (its title is the name of its protagonist), both produced by Jiangsu Kunqu Theatre House. Despite the obstacles faced by kunqu during its process of modernization, these two productions have accomplished a number of aesthetic breakthroughs: a unique form of fictional realism on the stage; its implicit use of conventionalization (that is, conventional, classical kunqu modes and their attendant aesthetic outlook); and the incorporation of recognizably up-to-date modern elements (‘fashion’) in the stage work. Meanwhile, these impressive aesthetic innovations signal, as well as facilitate, kunqu’s re-entry into the landscape of contemporary Chinese theatre as a forceful agent of cultural intervention.

This brief essay meditates on the advent of the ideal of horizontal social relations, exemplified in the early CCP years in the political term, “comrade” (tongzhi). It takes up Qu Qiubai as exemplary of a Marxist political thinker whose commitments to horizontality/comrade relations can be illustrated through his theories of literature, translation and language. It proposes that despite Xi Jinping's recent rhetorical admonishments to re-activate “comrade” as a political term, it is the LGBTQ community's appropriation of “comrade” in contemporary China that actually holds the potential for a substantive reanimation of the utopian ideals begun a century ago.