1 Introduction
Modern-day drama is often considered to be an effective means of expressing criticism. Numerous contemporary playwrights experiment freely with dramatic conventions, and most works overtly demonstrate to be a piece of performance, so that the audience is alerted not to view reality but a play. Thus, the boundaries between authenticity (the ´natural`) and role playing (the ´artificial`) are blurred “in order to address the construction of social and political identity.” (Saddik 2007: 13).
David Henry Hwang´s play M. Butterfly (1988) can be regarded as one representative of that type of contemporary dramatic pieces. It demonstrates the construction of identity around the politics of gender, sexuality, power and race. In the course of the drama, the (biological male) character Song Liling constructs a female, Oriental fantasy for the French diplomat Rene Gallimard. By performing her1 ´race´ and gender according to Gallimard´s ideas about the Oriental, Song is able to disguise her male sex. For almost two decades, the French diplomat is not aware of the fact that his partner is not a woman but a man. (cf. Hwang 1988: 94ff.).
The drama M. Butterfly - the first Asian American play to be produced on Broadway - has been introduced in the course of last summer semester´s seminar Gender, Sexuality, ´Race` and Class in Contemporary American Drama. It aroused my interest not only due to its witty and provocative style, but also because of the drama´s fascinating and powerful but rather bizarre story about the relationship of a Western man and a perceived Chinese woman. I could not understand how Gallimard neither was nor, in the course of all their years together, became aware of his partner´s true sex.
Therefore, the term paper will have a closer look at Song´s and Rene´s affair, in order to figure out how the Chinese opera star is able to create a masquerade she can preserve for so many years. In this sense, the paper will deal with the following questions: How can Song deceive Gallimard for almost twenty years? How can she hide her true sex and hence begin an affair with the diplomat? What role do both protagonists´ racial backgrounds play with regard to this? What fascinates Gallimard about Song in the first place? And in this sense: What effect does Song´s Oriental identity have on Gallimard´s perception?
Table of Contents
1 Introduction
2 Orientalism
2.1. Meaning of the term
2.2 History of Orientalism
2.3 Orientalism and Gender
3 The Oriental Woman - A Fantasy of the Western Male in David H. Hwang's M. Butterfly
3.1 David Henry Hwang – An Asian American Playwright
3.2 M. Butterfly – A Short Summary of the Play
3.3 Analysis of Hwang's M. Butterfly
4 Conclusion
Research Objective and Core Topics
This paper examines David Henry Hwang’s play M. Butterfly to explore how the construction of identity—specifically regarding race, gender, and power—enables the protagonist, Song Liling, to deceive the French diplomat Rene Gallimard for nearly two decades. By applying concepts of Orientalism, the analysis investigates how Western stereotypes of the "Oriental woman" allow for a sustained masquerade.
- The conceptual development of Orientalism and its historical roots.
- The intersection of Orientalism with gender roles and stereotypes.
- The career and influence of David Henry Hwang within Asian American drama.
- Analysis of the power dynamics and sexual masquerade between Song Liling and Rene Gallimard.
Excerpt from the Book
3.3 Analysis of M. Butterfly by David Henry Hwang
In the following, the term paper will analyse the play M. Butterfly by David Henry Hwang with reference to the questions raised within the introductory part of this work. The aim of the paper, therefore, is to better comprehend how, for so many years, Gallimard can be deceived by Song with regard to her true sex. So, the work will try to figure out how Song is able to obscure her sex and, thus, how she gets Gallimard to commit to a relationship that has been lasted for almost twenty years. Therefore, particular attention will be paid to Song's and Gallimard's racial backgrounds, to see what role her Oriental and his Western identity play in terms of this. Furthermore, the paper attempts to find out what exactly might fascinate Gallimard about Song in the first place. And in this sense, it will specifically focus on Song's racial identity to see what effect it has on Gallimard's perception.
The following analysis no claim of being complete; Instead, it tries to find some possible explanations for the rather extreme and less common relationship David Henry Hwang depicts in the course of the drama M. Butterfly. It might be held the view that Gallimard already is homosexual he meets Song and, moreover, that he knows about Song being a male right from the beginning. However, the term paper will be based on the assumption that Gallimard – at least – "chooses to believe he is heterosexual" (DiGaetani 1988: 145) and that he is not aware of the fact that Song is a man. This is based on the fact that he appears to be devastated the moment he is faced with the naked truth that his "Butterfly" is a male: "Look at you! You're a man! [...] I just think it's so ridiculously funny that I've wasted so much time on just a man!" (88).
Summary of Chapters
1 Introduction: This chapter introduces the drama, its performance context, and the research questions surrounding the deceptive relationship between the characters.
2 Orientalism: This section provides the theoretical foundation by defining Orientalism as a Western discourse of power, its historical evolution, and its gendered nature.
3 The Oriental Woman - A Fantasy of the Western Male in David H. Hwang's M. Butterfly: This chapter contextualizes the author, summarizes the play, and offers a detailed analysis of how racial and gendered stereotypes facilitate the central deception.
4 Conclusion: This chapter synthesizes the findings, confirming how the intersection of race and gender constructs a reality that the protagonist relies upon to maintain his fantasy.
Keywords
M. Butterfly, David Henry Hwang, Orientalism, Gender, Race, Postcolonialism, Asian American Drama, Identity, Power Dynamics, Masquerade, Stereotypes, Rene Gallimard, Song Liling, Western perception, Performance.
Frequently Asked Questions
What is the primary focus of this paper?
The paper focuses on the interplay of race, gender, and power in David Henry Hwang’s play M. Butterfly, specifically analyzing how the character Song Liling successfully hides her biological sex from Rene Gallimard for years.
What are the central themes addressed in the work?
Key themes include Orientalism, the construction of identity through stereotypes, the subversion of dramatic conventions, and the power imbalance between the Western male and the perceived "Oriental" female.
What is the core research question?
The research asks how Song Liling is able to deceive Gallimard for nearly twenty years and how racial and gendered expectations facilitate this masquerade.
Which theoretical approach is used?
The analysis primarily utilizes Edward Said’s concept of "Orientalism," alongside theories regarding gender as a performative construct (e.g., Judith Butler and others).
What is covered in the main body of the paper?
The main body examines the definition and history of Orientalism, provides a brief overview of David Henry Hwang's work, and conducts an in-depth analytical look at the dynamics between the two main characters in M. Butterfly.
Which keywords define this research?
Essential keywords include M. Butterfly, Orientalism, gender, race, identity, masquerade, and postcolonial drama.
How does Song Liling use Gallimard's prejudices to her advantage?
Song Liling performs the role of the submissive, "exotic" Oriental woman, which appeals to Gallimard’s desire for power and his specific fantasies about Asian women, thereby effectively blinding him to her true identity.
Why does the paper conclude that Gallimard is a "prey" for Song?
The paper argues that Gallimard is so desperate to maintain his Orientalist fantasy that he actively ignores reality, making him a willing participant in the illusion created by Song.
- Quote paper
- Babette Treptow (Author), 2011, David Henry Hwang´s play "M. Butterfly" - A Fantasy of the Western Male, Munich, GRIN Verlag, https://www.hausarbeiten.de/document/187523
