M. Butterfly follows the story of a French diplomat who falls in love with a Chinese opera singer, only to find out some twenty years later, when the two stand trial for espionage, that his lover is actually a man. Puccini's opera Madame Butterfly serves as the backdrop for this fictionalized recreation. David Hwang examines the racial/cultural and gender stereotypes and biases that cloud the lenses through which we perceive the relationships between men and women, East and West. His intentions are always clear, however hidden between intricate layers of story-line. Song's biological identity is suggested throughout the play, yet the announcement of this truth during the trial is nonetheless shocking. The identity of Song is denied by the reader, as well as by Gillimard - a victim (and perpetrator) of of the collective patriarchal and Western psyches, the obstinate perpetuation of sexism and Orientalism. His ability to understand "the other" was significantly hindered by a self-inflicted (dangerous) obstruction of reality. An important overarching theme in this play is: fantasy vs. reality, a theme that often overshadows the important ideas of socially and culturally fabricated dichotomies that are used to uphold sexist and imperialistic views of the world. It is interesting to note, that the blunders of sexism and racism are highlighted in the misinformed actions of Gilimard.
Song is first introduced in the stage directions of Act 1, scene 1:
Upstage Song, who appears as a beautiful woman in traditional Chinese garb, dances a traditional piece from the Peking Opera, surrounded by the percussive clatter of Chinese music. In first reading, this was simply a helpful direction in conceptualizing the scene. However, after re-reading the introduction of this character it seems to be the first suggestion (among many) of Song's biological sex. The next important suggestion by the author is seen in the SCENE 2 dialogue:
WOMAN. Yes. Isn't it mad?
MAN 2. (Laughing) He says ... it was dark ... and she was very modest! (The trio break into laughter.)
MAN 1. So - what? He never touched her with his hands?
MAN 2. Perhaps he did, and simply misidentified the equipment. A compelling case for sex education in the schools.
...
MAN 1. That's impossible! How could he not know?
MAN 2. Simple ignorance.
MAN 1. For twenty years?
MAN 2. Time flies when you're being stupid.
From this point forward, any minimal suggestions become amplified. The underlying biological truth is central to the play, and to understanding the implications of sexism and orientalism. As a central theme - leading both to the aforementioned, as well as to fantasy/ reality dichotomy.
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