Bernstein, Richard. “France Jails Two in Odd Case of Espionage.” The New York Times, May 11, 1986, p. K7. The original news account on which M. Butterfly is based. It recounts the sentencing for espionage of Bernard Bouriscot, a forty-one-year-old French diplomat, and Chinese opera singer Shi Peipeu. During their twenty-year relationship, Bouriscot mistakenly believed Peipeu was a woman. He also believed they had a son, Shi Dudu.
Chen, Tina. “Betrayed into Motion: The Seduction of Narrative Desire in M. Butterfly.” Hitting Critical Mass: A Journal of Asian American Cultural Criticism 1, no. 2 (Spring, 1994): 129-154. Analyzes M. Butterfly as postmodern drama, focusing on its relationship with the audience.
Gerard, Jeremy. “David Hwang: Riding on the Hyphen.” The New York Times Magazine, March 13, 1988, pp. 44, 88-89. This biographical profile, preceding the Broadway debut of M. Butterfly, focuses on Hwang’s crossover from ethnic to mainstream commercial theater with a play that violates conventions of commercial theater in its treatment of sexism, racism, and imperialism, plus its inclusion of Chinese opera, its scandalous plot, and its brief nudity. Hwang comments on the self-doubt that accompanied his sudden fame.
Hwang, David Henry. “The Demon in David Henry Hwang.” Interview by Misha Berson. American Theatre 15, no. 4 (April, 1998): 14-18. In this interview, Hwang comments on his theatrical successes and failures, explains the impact of his family’s religious fundamentalism on his work, and reveals the reactions of some Asians and Asian Americans to their stage counterparts.
Hwang, David Henry. “Interview with Marty Moss-Coane. Edited with an Introduction by John Timpane.” In Speaking on...