"China Girl" and Butterfly: Stereotypes of Asian Women
             "As the author who wrote M. Butterfly, I think it's fair to say that I believe our capacity for self-delusion to be fairly boundless" (Hwang "Worlds Apart" 50).
             Since the times of Rudyard Kipling who wrote the famous lines "Oh, East is East and West is West and never the twain shall meet" eastern vs. western otherness was the matter of discussion. In the multicultural world of the late 20th century the polemics escalated even more. Robert Cooperman in his New Theatrical Statements claimed that "[...] the most important play in terms of challenging the political/social/cultural identities of the West over the last decade is David Henry Hwang's award-winning M. Butterfly (1988)" (p. 201). Jayne Blanchard in the pre-view about the revival of the widely spoken play at the Arena (Washington, D.C.) agreed that "The shock value may have worn off some over 16 years, but Mr. Hwang's deft deconstruction of racial and sexual stereotypes Westerners hold about Eastern culture remains powerful and wrenching". However The spectators' shock at Hwang having ruined one of the most widely-known and deeply incorporated into the modern cultural paradigm stereotype of Madama Butterfly, thus the female Easterner sacrificing love and life for the male Westerner did exist. And the Cio-Cio San syndrome has been existing for almost a century – invented by a French writer Pierre Loti who described his own experience of having bought a wife during the stay in Nagasaki in the 1880s, supported and forced by an Italian composer Giacomo Puccini who created the opera "Madama Butterfly" on the base of the literary plot by an American David Belasco; attacked by an American play writer David Hwang in his famous "M. Butterfly" a century later since the 1st mentioning of Butterfly at all.
             "The play very plainly forces i...