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Essay / Research Paper Abstract
This 5 page report discusses
the fact that Illusion and reality are the key ingredients in
Chinese-American playwright David Henry Hwang’s “M. Butterfly”
(1988) and those factors are what have had the greatest influence
in terms of how his work has been interpreted by audiences seeing
it performed or its film adaptation for which Hwang wrote the
screenplay. The story itself is one that serves as a
deconstruction of the illusions and realities of West versus
East, hetero- versus homosexual realities, and what is “proper”
and what is taboo. Bibliography lists 3 sources.
Page Count:
5 pages (~225 words per page)
File: D0_BWhwang.rtf
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Unformatted sample text from the term paper:
Hwang wrote the screenplay. The story itself is one that serves as a deconstruction of the illusions and realities of West versus East, hetero- versus homosexual realities, and what
is "proper" and what is taboo. Bibliography lists 3 sources. BWhwang.rtf David Henry Hwangs "M. Butterfly" By: C.B. Rodgers
- November 2001 -- for more information on using this paper properly! Introduction Illusion and reality are the key ingredients in Chinese-American playwright David
Henry Hwangs "M. Butterfly" (1988) and those factors are what have had the greatest influence in terms of how his work has been interpreted by audiences seeing it performed or
its film adaptation for which Hwang wrote the screenplay. The story itself is one that serves as a deconstruction of the illusions and realities of West versus East, hetero-
versus homosexual realities, and what is "proper" and what is taboo. Puccinis opera, "Madame Butterfly," only serves as the setting for the larger story of "M. Butterfly." However,
it does invite and examination of the stereotypes presented. In the Afterword of the published play, Hwang writes: "The idea of doing a deconstructivist Madame Butterfly immediately appealed to me.
This, despite the fact that I didnt even know the plot of the opera! I know Butterfly only as a cultural stereotype; speaking of an Asian woman we would sometimes
say, Shes pulling a Butterfly," which meant playing the submissive Oriental number. Yet, I felt convinced that the libretto would include yet another lotus blossom, pining away for a cruel
Caucasian man, and dying for her love. Such a story has become too much of a clich? not to be included in the archtypal [sic] East-West romance that started it
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