ts Western audience to contend with Eastern stereotypes involving sexual orientation, gender, and culture, especially those stereotypes promulgated by the myth of Orientalism" discusses Cooperman (201), and he is not lonely in underlining the methods which Hwang treated literary metaphors and cultural stereotypes on his script with. The author himself used to explain up to what extent "deconstructivist" his Madame Butterfly is ("M. Butterfly, Afterword" 95 ).
             To the fact that the art matrix of China/Asian/Eastern Girl being destined to run to ashes speaks Hwang's choosing of epigraphs. One of them addresses the reader to David Bowie's "China Girl" – another significant product of the 1980s. Upon the whole music, as far as there are allusions to Puccini and Bowie (the musicians, belonging to absolutely different schools, countries and epochs) contributes a lot for understanding the Hwang's box-office success. David Hwang being so deeply rooted into the world of music (due to his mother) and being raised in the family of Asian political immigrants couldn't but know about Madama Butterfly who died in the name of love for the Westerner Pinkerton. In the "Afterword" to the play Davis Hwang wrote: "I know Butterfly only as a cultural stereotype; speaking of an Asian woman we would sometimes say, 'She's pulling a Butterfly,' which meant playing the submissive Oriental number" ("M. Butterfly, Afterword" 95).
             It is true that Hwang never made a secret of a strong allusion to the opera existing in the play. However the difference is great. John Deeney admits that "Hwang incorporates a conventional Western opera performance in order to demythologize 'a sort of Western fantasy about power relationships between East and West' (Hwang 1990)". According to Andrew Shin Puccini's "Madama Butterfly" "dramatizes the bea...