Note: Director TIAN Chi-Yuan was faced with discrimination in the health-care system after being reluctantly outed as HIV positive in the late 1980s. Since then, until his departure from life in 1996, he had been persistently devoted to theaters. His story is mirrored by the one of Paddy Chew, Singapore's first openly HIV-positive, and the two alike reflected body to be an obscure realm where personal moral values are tangling with social order, while performativity as its methodology to reveal the inescapable national governance. The difference between the two lies in that TIAN's theater rose to poignantly challenged the patriarchy rather than delivered a self-proclamation. The author employs "performativity" as the writing strategy and analyzes TIAN's encounter with CHI Chia-wei in the 1980s' theater. Even though CHI's individualism has remained controversial, this chapter of the history, in which activism and queer theatre were once closely connected, has proclaimed the distinctiveness of this society despite the gaze of the Western "queer" aesthetics in an globall context.