Cross-Cultural Dialogue in Gender and Power: A Study on the

Adaptation of Madama Butterfly to M. Butterfly

Yaqi Hu

School of Foreign Languages and Cultures, Nanjing Normal University, Nanjing, Jiangsu, China

Keywords: Gender Performativity, Power Dynamics, Postcolonial Critique, Cross-Cultural Adaptation, M. Butterfly.

Abstract: Adapted from the classic opera Madame Butterfly, M. Butterfly deconstructs the stereotype of Eastern women

in the original by reshaping the relationship between gender and power, not only challenging the binary

opposition of gender, but also revealing the dynamics and tension of power in cross-cultural communication.

Using gender role theory, power dynamics and post-colonial theory, M. Butterfly explores the complexity of

cultural identity and gender roles. Going beyond the scope of traditional adaptation, M. Butterfly not only re-

examines gender equality and cultural diversity but also provides a new perspective in cross-cultural literary

dialogue. It is a literary innovation that has triggered extensive thinking on gender and power issues and

provided important inspiration for subsequent studies.

1 INTRODUCTION

1.1 Research Background

As one of the classic operas in the late 19th century,

Madama Butterfly created by Puccini is a profound

text reflecting the cultural conflict between the East

and the West in a specific historical context. The

opera focuses on the tragic love between Japanese

geisha Cio-Cio San and American military officer

Pinkerton and directly presents the reality of the

power imbalance between East and West during the

colonial era. This imbalance of power is not only

reflected in cultural aggression and possession but

also permeates gender relations in more subtle ways.

In the opera, Cio-Cio Sang is portrayed as a typical

"Oriental woman" - docile, sacrificial and self-

dispelling. This stereotype not only caters to the

romanticized fantasy of the Orient by Western

audiences at that time but also reflects the strong

position of Western hegemony in cultural narrative.

However, in the context of the era of globalization,

the cultural dialogue and interaction between the East

and the West have become more diverse and

complex. Such artistic presentation of one-sided

power relations cannot meet the needs of modern

audiences for in-depth discussion of cultural and

gender issues. Under this background, David Henry

Huang's M. Butterfly came into being as an adaptation

of Madama Butterfly. Not only is the play a bold

reconstruction of the character relationships and plot

of the original, but it also provides a profound re-

examination of East-West power relations and gender

dynamics by placing the story in a post-colonial,

globalized context.

1.2 Research Significance

Literary adaptation has always been the core way for

classic works to regenerate in the new context, and

the adapted works themselves reveal the demands of

specific cultures in different times. As an adaptation

of Madama Butterfly, M. Butterfly not only simply

retells the story or theme of the original but opens up

a new narrative strategy by subverting the gender and

power framework of the original. The single

relationship between power dominance and gender

oppression in the original is complicated into a

structure of fluidity and diversity in the adaptation.

The significance of this way of adaptation goes far

beyond the field of art itself but is a tool for profound

criticism and discussion of gender equality and

cultural diversity.

1.3 Research Objectives and Questions

In order to have a deeper understanding of the

adaptation and subversion of the original Madama

120

Hu, Y.

Cross-Cultural Dialogue in Gender and Power: A Study on the Adaptation of Madama Butterﬂy to M. Butterﬂy.

DOI: 10.5220/0013968800004912

Paper published under CC license (CC BY-NC-ND 4.0)

In Proceedings of the 1st International Conference on Innovative Education and Social Development (IESD 2025), pages 120-125

ISBN: 978-989-758-779-5

Butterfly in terms of gender and power, this study

mainly focuses on the following issues:

How have gender roles changed in M. Butterfly

compared to ?

How does the adaptation reflect cultural

interaction and conflict through the reconstruction of

power relations?

What role do these adaptations play in promoting

gender equality and cultural understanding?

Through the discussion of the above issues, this

study hopes to provide a more comprehensive

analysis of the interpretation of gender and power in

M. Butterfly and also provide a new perspective for

gender studies and cross-cultural studies.

2 LITERATURE REVIEW

2.1 Analysis of the Original Text of

Madama Butterfly

Madama Butterfly, as a classic western opera, is not

only the product of culture and art in the late 19th

century, but also an important text rooted in the

Japanese cultural stereotype at that time. In the

process of creation, Puccini created an exotic Oriental

world with the help of the West's imagination of the

East. (Han, C.-s., & Chong suk, H. 2006)The story

revolves around the tragic love between Japanese

geisha Cio-Cio San and American naval officer

Pinkerton, which not only shows Cio-Cio San's

loyalty and sacrifice spirit but also strengthens the

power opposition and cultural hierarchy between the

East and the West through the plot and character

setting. (Greenwald, H. M. 2000)

The text of Madama Butterfly is essentially a

narrative from a Western perspective, which uses

Eastern culture as decoration without really

understanding or respecting it. This one-way cultural

consumption makes Madama Butterfly often

criticized as an embodiment of cultural hegemony in

the post-colonial context. (Yoshihara, M. 2004)

2.2 The Background and Reception of

M. Butterfly

In the second half of the 20th century, with the rise of

post-colonial theory, cultural scholars and artists

began to critically interpret the cultural narratives and

power structures formed during the colonial period.

At the same time, the vigorous development of

feminism and gender studies has made gender

identity an important social issue.

The story of M. Butterfly is set against the

backdrop of cultural interaction between China and

France during the Cold War and focuses on the

relationship between French diplomat René

Gallimard and Chinese Peking Opera actress Song

Liling. (Hayde, D. 2010) M. Butterfly has gained

widespread attention for its challenge to gender

stereotypes and subversion of cross-cultural power

relations. In the play, Song Liling is not only a male

character who plays a female, but also a subject who

can manipulate the discourse of power and challenge

the fantasies of Western men. This kind of role setting

has greatly deconstructed the passive and victimized

Eastern female image of Cio-Cio San in Madama

Butterfly and meanwhile made M. Butterfly become a

hot topic of academic discussion in the context of

gender theory and post-colonial studies. (Barbero, C.

2015)

2.3 Overview of Gender and Power

Theoretical Frameworks

In order to have a deeper understanding of how M.

Butterfly adapts Madama Butterfly in terms of gender

and power, this paper introduces the following three

core theoretical frameworks:

Gender Role Theory (Judith Butler): In his book

Gender Trouble, Butler argues that if the immutable

character of sex is contested, perhaps this construct

called “sex” is as culturally constructed as gender;

indeed, perhaps it was always already gender, with

the consequence that the distinction between sex and

gender turns out to be no distinction at all. (Butler, J.

2006)

Power Dynamics (Michel Foucault): Summary

from Foucault’s point of view, power is not one-way,

but a dynamic structure that exists in social relations.

Power is not only expressed through direct oppression

but can also be implicitly controlled and shaped by

knowledge, discourse and social norms. (Foucault,

M. 1983)

Postcolonial Theory (Edward Said): In

Orientalism, Said argues that the West's portrayal of

the East is often one of cultural hegemony based on

colonialism, shaping the image of the East as the

dominated and the other. (Said, E. W. 1978)

Cross-Cultural Dialogue in Gender and Power: A Study on the Adaptation of Madama Butterﬂy to M. Butterﬂy

121

3 ANALYSIS OF THE

ADAPTATION

3.1 Transformation and Reformation

of Gender Roles

In M. Butterfly, the passive eastern female image in

the original Madama Butterfly is completely

subverted, and the role is re-shaped into a complex,

multi-dimensional and subject-conscious existence.

This shift not only breaks the framework of

traditional gender roles but also echoes modern

perceptions of gender fluidity and individual agency.

In Madama Butterfly, the heroine Cio-Cio Sang is

a typical embodiment of Oriental women - she is

gentle, obedient and dedicated to everything, and

finally sacrificed for the pursuit of love, becoming a

synonym for "idealized" Oriental women in the

colonial context. (Sheppard, W. A. 2005) However,

in David Henry Huang's adaptation, the role of Song

Liling was born out of the prototype of Madama

Butterfly, but it completely subverted Cio-Cio San's

passivity. Song Liling is not simply a victim, but an

active power, manipulative role, his/her actions are

full of strategic and self-conscious. In the play, he/she

is not only the "giver" of love, but also shows the

subversion and deconstruction of male power

discourse through active emotional manipulation and

the transformation of cultural identity. This shift

partly responds to the argument made by Simone de

Beauvoir in The Second Sex: “La femme n’est pas

définie par rapport à l’homme, mais elle est définie

par rapport à lui. C’est la fonction d’être l’opposé de

l’homme qui constitue son essence: elle est l’Autre.”

(Beauvoir, S. de. 1949) (Woman is defined and

differentiated with reference to man. Considered in

herself, she would not form a category. It is the fact

of being opposed to man, of being unlike the man (the

opposite sex), that defines her as a female.

Opposition, difference, otherness are not signs of

inequality. But the fact remains that woman is the

Other in a whole system based on dualism and the

hierarchical organization of levels of being.)

This reconstructed role embodies the core of

modern gender concept - gender is not a single, fixed

social orientation, but an identity practice that can

constantly flow and reshape (Christine, S. 2017). The

figure of Cio-Cio San is depicted in Madama

Butterfly as a fantasy in the eyes of male colonists,

and Song Liling is the terminator of this fantasy,

revealing the diversity and autonomy of gender

identity through complex motives and

actions.(Shimakawa, K. 1993)Song Liling's

subjectivity makes this role no longer just an object

to be stared at, but an initiator of action and a

constructor of meaning.

The portrayal of transgender identity and role play

in M. Butterfly profoundly challenges traditional

heterosexual norms and gender dualism and reveals

new possibilities of gender fluidity and complexity.

(Kondo, D. K. 1990)

Song Liling's gender identity is

ambiguous in the play, and his/her very existence is a

kind of rebellion against social gender norms.

To some extent, this kind of identity ambiguity is

also a vivid embodiment of the "gender performance"

theory proposed by Judith Butler in Gender Trouble.

According to Butler, gender is essentially constructed

through repetitive behavior and social performance,

rather than a natural biological fact (Butler, J. 2006).

Song Liling shows the core of this theory by

constantly switching gender identities in the play.

He/she plays the gentle "Oriental woman" in the face

of Galima, gaining emotional dominance through

gender-specific performances that conform to the

colonists' fantasies; But when the identity is revealed,

it completely subverts Galima's perception by

displaying male power. (Grist, L. 2003) This strategic

use of "gender performance" reveals the fluidity and

social constructiveness of gender itself, providing the

audience with a new perspective to rethink the

definition of gender identity and gender roles.

In addition, Song Liling's role play is not only an

exploration of personal gender identity, but also a

provocation to social gender norms. In Madama

Butterfly, Cio-Cio San's female identity is imposed by

the outside world, and it is an existence that satisfies

the fantasies of the colonists. Song Liling controls this

narrative through her self-designed gender

performance, using the ambiguous characteristics of

gender identity to counter the colonialist gaze.

3.2 Reconstruction of Power Relations

The reconstruction of the East-West power

relationship in M. Butterfly can be said to be a

powerful subversion of the one-way power model in

Madama Butterfly. In Madama Butterfly, the power

dynamic between East and West is highly lopsided.

The Oriental woman Cio-Cio San is not only an

extension of Pinkerton's desire for power, but also a

symbol of the West's domination and gaze on the East

in the colonial context. In M. Butterfly, however,

Song Liling's dual identity as an Eastern female and

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male spy not only breaks this one-way power

relationship but also redefines the interaction between

the two through the blurring and bidirectional nature

of power.

The relationship between Song Liling and

Gallimard is not simply "controlled" and

"controlling". On the one hand, Song plays to

Gallimard's stereotype of the "Oriental woman", on

the other hand, she uses this misunderstanding to

construct an anti-control power play that makes

Gallimard the dominant in the true sense of the word.

The gaze of Western men on Eastern women is

actually based on fantasy and ignorance, and this

fantasy in turn becomes a tool for Song Liling to hold

power. (Kyoo Lee. 2013)

This power shift is reminiscent of post-colonial

theorist Edward Said's critique of “Orientalism” in

Orientalism: The West's depiction of the East was

never based on reality but rather constructed an image

of the "other" through imagination to reinforce its

own sense of superiority. (Said, E. W. 1978)

However, M. Butterfly dramatizes the image of this

"Eastern other". Song not only uses this image but

also reveals the falsity and vulnerability behind this

power relationship by constantly manipulating

Gallimard's emotions and perceptions. Ultimately,

Gallimard's disillusionment symbolizes the West's

loss of absolute control in this game. The power

relationship between the East and the West is no

longer one-way, but full of complexity and multi-

faceted, showing the implicit tension and

contradiction in cross-cultural interaction.

In M. Butterfly, the redistribution of power

relations is reflected not only between East and West,

but also in the shifting gender dynamics. Song Liling

reversed the traditional gender power structure by

deception and manipulation. Gallimard always sees

himself as a powerful "controller" who thinks he is in

absolute control of Song's emotions and relationships,

but in reality, this power relationship is inverted.

This reversal of gender power reflects a profound

questioning of the traditional gender order. This shift

is not only a challenge to male authority at the gender

level, but also a re-examination of the interwoven

relationship between gender and culture. Song

Liling's deception puts Gallimard in the passive

position, revealing that men can be equally vulnerable

in fantasy-constructed gender relationships. This

inversion of gender power makes M. Butterfly a

profound deconstruction of traditional gender and

cultural narratives.

What is more interesting is that Song Liling's role

setting does not completely break away from the

image of eastern women, but through strengthening

and using this image to complete the counterattack to

male power. This technique is reminiscent of the

concept of "hybridization" discussed by Homi K.

Bhabha in the Location of Culture: in the colonial

context, the colonized will use the colonizer's

imagination of their own stereotypes to counter.

(Bhabha, H. K. 1994) It is by catering to Gallimard's

fantasies that Song Liling gradually entraps him and

eventually destroys Gallimard's sense of cultural

superiority and gender confidence. The bidirectional

nature of this power interaction breaks the one-way

oppression mode of gender and culture in the original

work, and shows the new possibility of cross-cultural

power relations, showing how power is reshaped and

transferred in cross-cultural and gender interaction,

and finally blurring the traditional boundaries of

domination and subordination.

4 CROSS-CULTURAL

INTERPRETATION OF

GENDER AND POWER

4.1 Manifestation of Gender and Power

Theories in the Adaptation

In the original Madama Butterfly, gender power is

placed within a one-way, oppressive framework. Cio-

Cio San, as an Eastern woman, is passive and

powerless, and her entire worth depends almost

entirely on her emotional devotion to Pinkerton. This

kind of performance strengthens the power inequality

between the East and the West and the superiority of

male power in the traditional gender concept. In M.

Butterfly, this one-way oppression is deftly

disintegrated. The existence of the role of Song Liling

itself breaks the simple gender opposition, she is not

only a "female" image, but also a subject who can

flexibly walk between male and female identities and

has a deep understanding of gender fluidity. (Park, M.

S. 2008)

This redefinition of the relationship between

gender and power is a direct response to Judith

Butler's theory of "gender performance" in Gender

Trouble. The existence of Song Liling in M. Butterfly

is the best embodiment of this theory - she not only

exists in Gallimard's fantasy as a woman but also

dominates the power dynamics of the whole

relationship as a male spy. Her gender performance

makes Gallimard trapped in a false cultural and

gender fantasy, and this performance is itself a

powerful rebellion against the established gender

order.

Cross-Cultural Dialogue in Gender and Power: A Study on the Adaptation of Madama Butterﬂy to M. Butterﬂy

123

Not only that, Song Liling's subjectivity and

agency also challenge the stereotype of Eastern

women in the West for a long time. In the post-

colonial context, Eastern women are usually

portrayed as soft, gentle, and unconditionally

obedient objects. In M. Butterfly, Song Liling enters

the power relationship as a dominant figure through

"reverse manipulation" of this fantasy, thus

dramatizing the deconstruction of Western male

discourse (Xi, W. 2011).

4.2 Gender Imagery and Cultural

Interpretation in M. Butterfly

Compared with Cio-Cio San's submission and

sacrifice to her identity as an "Oriental woman" in

Madama Butterfly, Song Liling's identity is highly

fluid. She is not only a gender-ambiguous character,

but also a polyhedron of cultural identity. She both

played the "perfect Eastern woman" of Western male

fantasy and served her country as a spy.

This exploration of gender fluidity in intercultural

dialogue is reminiscent of the "hybridity" theory

advanced by postmodern thinker Homi Bhabha in the

location of culture. According to Bhabha, in the post-

colonial context, cultural identity is no longer a fixed

single symbol, but a hybrid of multiple factors.

(Bhabha, H. K. 1994) In this sense, M. Butterfly

shows the diversity of gender and cultural identity.

Song Liling shows the fluidity of gender identity as

well as the complexity of cultural identity through the

"illusion" of gender roles.

At the same time, the diversity and fluidity of this

gender role allows the audience to see an inclusive

perspective on the traditional gender framework.

Gallimard fantasizes about Song Liling as a

traditional Oriental woman, and when the truth is

revealed, he has to confront his own misconceptions

about gender and culture. Song's role play actually

deconstructs the West's long-held rigid definitions of

the East and gender, while also tearing Gallimard's

sense of cultural superiority to shreds. This dual

deconstruction of gender and culture not only

enriches the sense of hierarchy of the characters but

also provides the audience with a new understanding

of cross-cultural relations. (Nie, Z. Z. 2021)

4.3 Gender Discourse and Power

Critique in the Adaptation

The rewriting of M. Butterfly at the discourse level

not only exposes the complexity of gender

oppression, but also deeply criticizes the power

structure in the colonial context. René Gallimard's

fantasy of Song Liling, which represents the power

gaze of the West over the East, is inherently fragile

and self-delusional - a weapon with which Song uses

and fights back against Western cultural

hegemony.(Tao, S. L., & Chen, X. 2023)

As Gayatri C. Spivak writes in Can the Subaltern

Speak?, colonial discourse always suppresses the

colonized subjectivity to the silent edge. (Spivak, G.

C. 1988) In Monarch Butterfly, Song Liling

successfully "speaks" through multiple manipulations

of gender and cultural identity and occupies a

dominant position in power relations. This casting not

only challenges the stereotypes of Oriental women in

the colonial era but also reflects that the relationship

between gender and cultural oppression is not linear,

but multidimensional and full of tension.

Finally, by rewriting the original gender

discourse, M. Butterfly not only shows the fluidity of

the power structure but also allows the audience to re-

examine the opposing framework of gender and

culture. Gallimard's dilemma is not only a personal

tragedy, but also the disillusionment of Western men

in colonization and gender hegemony. His defeat

symbolized the collapse of the authority of colonial

discourse, while Song Liling's victory symbolized a

new possibility of cross-cultural power relations.

5 CONCLUSION

As an adaptation of Madama Butterfly, M. Butterfly

not only shows innovation in artistic expression, but

also provides rich discussion space for academic

research. By re-shaping the characters and plot, the

work subverts the traditional gender and power

narrative in the original work and interprets gender

equality and cultural diversity from a new

perspective. The work shows the restructuring of

power structures in a post-colonial context,

challenges the traditional image of Eastern women,

and introduces new thinking about gender fluidity and

cultural identity.

The success of M. Butterfly is that it transcends

cultural boundaries and provokes profound

discussions about gender, power, and cultural

identity. It extends the discussion of gender and

power to broader social issues, such as cultural

identity, racial discrimination, and the complexity of

power relations. In today's globalized world,

intercultural dialogue and exchanges are increasingly

frequent, but they are also full of misunderstandings

and prejudices. (Zeng, G., & Destech Publicat, I.

2016, May 28-29) Through its cross-cultural

adaptation, M. Butterfly provides a new discussion

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space for gender and cultural issues, and the criticality

and diversity it presents are of far-reaching practical

significance. More importantly, the work provides

inspiration for subsequent adaptations to explore how

to dig deeper meaning in the interaction between

gender and culture and also provides new ideas for

the dialogue between literature and culture in the

context of globalization.

Through the deconstruction of Madama Butterfly,

M. Butterfly breaks the stereotype that eastern

women are docile and well-manlike and fall in love

with white men. This bold attempt is undoubtedly an

adventure and breakthrough for Chinese writers.

However, while subverting the narrative of

Orientalism, the work does not completely get rid of

the traces of catering to the inner demands of Eastern

readers, showing some incomplete deconstruction.

Overall, M. Butterfly is not only an artistic

innovation but also occupies an important position in

academic research. It provides us with a multi-

dimensional platform to explore issues of gender,

power, cultural identity and cross-cultural

communication. The influence of this work is not

only reflected in the re-examination of Madama

Butterfly, but also in the opening up of a new way to

explore cross-cultural literature and cultural dialogue.

Although this study mainly focuses on text analysis,

future studies can be further expanded to explore

audience receptivity and social context, so as to more

comprehensively understand the cultural significance

and social impact of adapted works. This kind of

research may provide a deeper perspective and

inspiration for cross-cultural adaptation works.

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