Late Mutations of Cinema’s Butterfly

Chapters in this book

1. Frontmatter i
2. Contents vii
3. Madame Butterfly: A Selective Chronology ix
4. Preface xi
5. PART ONE: PRE-TEXTS
6. Inventing the Orient 3
7. PART TWO: TEXTS
8. Mounting Butterflies 21
9. Cio-Cio-San the Geisha 36
10. ‘Re-Orienting’ the Vision: Ethnicity and Authenticity from Suzuki to Comrade Chin 59
11. That Old Familiar Song: The Theatre of Culture in David Henry Hwang’s M. Butterfly 72
12. PART THREE: INTERTEXTS
13. Late Mutations of Cinema’s Butterfly 91
14. White Nagasaki / White Japan and a Post-Atomic Butterfly: Joshua Logan’s Sayonara (1957) 123
15. Playing Butterfly with David Henry Hwang and Robert Lepage 136
16. PART FOUR: CONTEXTS
17. Madama Butterfly and the Absence of Empire 155
18. The Taming of the Oriental Shrew: The Two Asias in Puccini’s Madama Butterfly and Turandot 170
19. Iron Butterfly: Cio-Cio-San and Japanese Imperialism 181
20. Madame Butterfly: Behind Every Great Woman ... 196
21. M. Butterfly: Staging Choices and Their Meanings 227
22. Bibliography 239
23. Contributors 255
24. Index 257