Xiaoxing Sun occupies a special, unprecedented position within the history of modern theater in China, which began in 1907. He studied at the Central Academy of Drama but we can find no traces of the training he received there. His work avoids the vulgarity of the so-called independent Chinese theater scene, while he also personally displays none of the conceit that other Chinese directors of his generation have when they speak. I. As a director, Sun is a kind of scholar. He has a strong awareness of the genealogy of his work at a global level. His scholarly traits can be seen not only in the limited sense of academic work in theater and the performing arts, but also in his observations of what is happening in the fields of philosophy and aesthetics around the world. II. He is also an artist, designing the overall visuals for his productions himself. He places a number of actions within this, maintaining them over a sufficient duration up until the very end. Sun gives the audience a glimpse of a certain cultural style that emerges in a state of standstill. This is a way of creating spectacle and his mastery of it is impressive for an Asian artist. III. Sun’s method of integrating multimedia into a live performance is graceful and distinctive. In terms of this lightness of touch, an aesthetic affinity can be observed between Sun and the con-temporary French artist, playwright, and theater director Philippe Quesne. IV. In Sun’s theater work, there is a complete lack of the distinct features that have come to be associated with being “Chinese.” He seems unconcerned about being Chinese. What I see here is an Asian person deploying various digital devices and terminals and internet-based media against a backdrop of a capitalist world undergoing an irreversible pro-cess of globalization. The cultural differences and links are organically paired and condensed into a single scene. Although it seems as if Sun is merely imitating so-called Japanese otaku (geek) culture, he is in fact alluding to a certain “internationalism” that comes from the historical tradition of the Communist Party. V. Sun’s work shows women as objects. In his performances, women are undoubtedly examined with a naked male gaze. But there is nothing invasive about this; rather, it is tender. VI. The Chinese language found in Sun’s dialogue has lost its communicative function. Typically, he instructs his female performers to use everyday, colloquial language. He nullifies theatrical tones and overturns the aesthetic. He also eliminates everyday language of its communicative function, using sounds in place of words. Sounds become images, a kind of meta-language. VII. The performers in Sun’s work are the truest representation of the jumble of cultural values and absence of standards in contemporary China. The “actor” approaches a kind of state of “degree zero” that is hard to obtain as a live bodily medium. This overturns the definition of an “actor” in the history of Chinese theater. VIII. Sun’s theater demonstrates the radical politics of an indifference and alienation towards reality in Chinese society today. His work offers no theoretical interpretations of sociology, anthropology or politics. It is not an art intervention, frenetic but devoid of self-knowledge and discipline. Rather, his work lingers endlessly in the here and now, spatially and temporally, offering an excessive emphasis on this here and now where an extreme objectivity manifests. This conveys a strong sense of objectification and materiality, and a powerful sense of a “meta-reality.” It is the discovery of the beauty of meta-reality. It is because of this sense of meta-reality that Sun’s work transcends structure and limit, and attains a measure of morality and justice. In this way, Here Is the Message You Asked For... Don’t Tell Anyone Else;-) is a genuinely beautiful work of art that is also truly politically correct.