《M. Butterfly》读后感100字
《M. Butterfly》是一本由David Henry Hwang著作，Plume出版的Paperback图书，本书定价：USD 12.00，页数：100，特精心从网络上整理的一些读者的读后感，希望对大家能有帮助。
《M. Butterfly》精选点评：
●戏中有戏
●谁是谁的butterfly？？
●总觉得很多东西还没理清
●太厉害了 字字珠玑 感觉比作者在afterword里面讲的还深还广得多 戏剧感染力真心强！
●几年前在剑桥图书馆未完成，感谢萌萌找到扫描版，一气呵成。非常精彩的一部剧本，以Song的口吻，对自Pucinni笔下诞生的西方男性对Oriental Women的幻想，表达了彻底的讽刺和批判。然而时至今日，这种幻想的痕迹在东西方社会都依然随处可见。
●神故事。
●五星just because it’s great而不代表我喜欢
●'When I believed it, it was a beautiful story.'
●【世界文学第五周--文革前的北京大剧院】难以忍受 只能说在对质那些stereotype of Chinese women/roles的时候我觉得超级难为情啊 因为不是凭空想象的 作者是华裔啊 虽然他漂亮地在剧本最后反击了stereotype——东方文化作为弱势文化/西方则是强势主导文化 但是with all due respect 一个一辈子活在self-delusional的white man为了一个心机间谍（中国“女”人）殉情只能让人同情这个白人 顺便更加黑化了东方人
●恋
《M. Butterfly》读后感(一)：君讽夫人
几年前在剑桥图书馆未完成，一直记挂在心愿单上，感谢萌萌今天帮我找到扫描版，终于看完。
非常精彩的一部剧本，灵感来自于普契尼的「蝴蝶夫人」却反其道而行之，借主人公Song的口吻，多次提到并讽刺了自Puccini笔下诞生的，西方白人男性对东方女性所抱有的，后者将对自己无条件爱慕并付诸自我牺牲的幻想。
最后一幕极具冲击力，以推翻整部作品主人公形象的强烈反差，将讽刺呈现到极致。
令人意外的是，作者对于新中国成立后文化浩劫的描写，虽然笔墨不多，也十分深刻。
然而，可悲的是，时至今日，这种蝴蝶夫人的幻想痕迹，无论是在西方白人男性还是亚洲女性眼中，都依然随处可见。
聪明的现代人甚至将这种幻想上升到了ideology的高度，前一段时间亚洲女性在西方社会社交链排顶端的新闻，无疑是为这种幻想蒙上了一层体面的遮羞布。倘使这一幻想并非Puccini臆作，而是真有其社会和心理学依据，那么亚洲女性受欢迎的真正原因如何，是永远无法从西方媒体之口得知的。
《M. Butterfly》读后感(二)：编写的故事哪里及得上现实的传奇
《蝴蝶君》的故事，撩了我好久。
前不久又在雅虎上看到一个关于间谍专题，这个当年轰动一时的间谍案也在其中，果然是编写的故事哪里及得上现实的传奇。
不得不承认戏剧的开头和结尾是十分精巧的。特别是开头，有中国人说故事的曲折含蓄，现实、回忆、角色、京剧与歌剧的叠加，可以想象到视听的效果是十分震撼的，把观众从孤独幽暗的囚室陡然就推进了故事。然而从此时开始，戏剧的风格就完全是西方的drama，无论是台词还是冲突。从一开始作者就毫不客气地把Gallimard塑造成一个十足的loser，只是在对东方的意淫中获取尊严，再加上present的一幕中酒吧里人们把他当成笑话，黄哲伦似乎是卯足了劲要送他一个“咎由自取”，不留任何同情。接着是宋丽玲的出场，一番对于《蝴蝶夫人》的驳斥铿锵有力，总让人觉得，有些话，一旦说得太白太早，总是有些失了色的。事实也是如此。黄哲伦力图扳回东西方控制与被控制的角色，政治意图太过明显，以至于用力过甚，荒了情节，淡了人物。
满纸政治宣言和复仇心理的结果，是观众无法同情任何一个人物。我一直在想，对于一个接受过西方教育，又在力图守着传统京剧的宋丽玲来说，在中国60年代的生存艰难，看过章诒和的《伶人往事》，是不难体会的。但是黄哲伦把这段历史模糊化了，虽然有宋丽玲被批斗、被迫做间谍的场景，但是舞蹈的形式与其说是夸张，毋宁说是虚化，似乎是刻意又强化了西方观众的东方想象。而结尾在法庭上，宋丽玲换回男装，点着香烟，谈吐自如，甚至对Gallimard的步步紧逼，则耗尽了观众最后一丝同情。毕竟，Gallimard再自大、再愚蠢，对于宋丽玲的爱是真的，虽然他爱的，只是蝴蝶夫人的衣装而已，就像Gone with the Wind中的斯嘉丽，自己都承认对于艾思礼的爱不过是爱上了自己的创造的幻想，一件衣服，那天艾思礼来到了我的窗下，我就把衣服披到了他的身上，可是其中的确是有真爱的。而宋丽玲，只不过换过来扮演了Pinkerton的角色，侮辱他，折磨他，利用他的深情，最终逼他为自己而死。既然黄哲伦有心批判Pinkerton的形象，又何苦弄出个刻薄又残忍的宋丽玲？这样的东方形象，除了自己人爽一下之外，真的有莫大的意义么？
据说，《蝴蝶君》每演一场，Boursicot都有版税收入，不知道这位昔日的法国外交官每次收到支票的时候，都是什么心情。但是他在传记中的一段话却让人动容。他说被骗好过欺骗，他说他从不觉得佩璞是坏人，他说只是遗憾他们的故事毕竟不是他的一厢情愿。
我觉得，这倒真像是一个背叛祖国、放弃一生来换一个虚渺爱人的傻瓜说的话。
《M. Butterfly》读后感(三)：摘自蝴蝶君
看得是复印的原本， 同学的论文指导老师推荐的，可是那位可爱的童鞋不想写，我就先抢来看，老师好给力，为毛我的导师不这么给力。一口气看完的。之前看过电影，看得时候满脑子尊龙腰肢柔软眼波流转温声细语娇嗔连连的样子…… 以下引用，感觉文字比画面更加有力量。
Cited from M.Butterfly
All your life you’ve waited for a beautiful girl who would lay down for you. All your life you’ve smiled like saint when it’s happened to every other man you know. And you see them in magazines and you see them in movies. And you wonder, what’s wrong with me？ Will anyone beautiful ever wnt me？ As the years pass, your hair thins and you struggle to hold onto even your hopes. Stop struggling. Rene, the wait is over.
China is a nation whose soul is firmly rooted two thousand years in the past. What I do even pouring the tea for you now… it has…implications. The walls and windows say so. Even my own heart, strapped inside this Western dress…even it says things—things I don’t care to hear.
When a woman calls a man her “friend” she’s calling him a eunuch or a homosexual.
I want to know what you know. To be impressed by my man.
All he wants is for her to submit. Once a woman submits, a man is always ready to become ‘generous’.
--why in the Peking Opera are women’s roles played by men？
--because only a man knows how a woman is supposed to act.
Rule one is: Men always believe what they want to hear. For example: This is my first time. This is the biggest I’ve ever seen.
Rule two is: As soon as a western man comes into contact with the east—he’s already confused. The West has sort of an international rape mentality towards the East. ‘Rape mentality’: Her mouth says no, but her eyes say yes.
I knew all the time somewhere that my happiness was temporary, my love a deception. But my mind kept the knowledge at bay. To make the wait bearable.
I’m not just any man!【这句乱伤心】
You’re like the rest of them. It’s all in the way we dress, and make up our faces, and bat our eyelashes, you really have so little imagination.
M.Song？ Accuse me of too little imagination？ You, if anyone, should know—I am pure imagination. And in imagination I will remain.
《M. Butterfly》读后感(四)：A true story + Orientalism =M. Butterfly (D.H.Hwang) > Madame Butterfly (Giacomo Puccini)
A true story + Orientalism =M. Butterfly (D.H.Hwang) > Madame Butterfly (Giacomo Puccini)
ot a love story, yet a psyco-mirror that recover a cognition all you love is the reflection of what you desire, in other word, you create it, which may well be never existed.
“A former French diplomat and a Chinese opera singer have been sentenced to six years in jail for spying for China after a two-day trial that traced a story of clandestine love and mistaken sexual identity….Mr. Bouriscot was accused of passing information to China after he fell in love with Mr. Shi, whom he believed for twenty years to be a woman.”
—The New York Times, May 11, 1986 [Playwright’s Notes]
Act THREE. Scene Three
1.
GALLIMARD: There is a vision of the Orient that I have. Of slender women in chong sams and kimonos who die for the love of unworthy foreign devils. Who are born and raised to be the perfect women. Who take whatever punishment we give them, and bounce back, strengthened by love, unconditionally. It is a vision that has become my life.
2.
And the truth demands a sacrifice. For mistakes made over the course of a lifetime. My mistakes were simple and absolute—the man I loved was a cad, a bounder. He deserved nothing but a kick in the behind, and instead I gave him…all my love.
Yes—Love. Why not admit it all？ That was my undoing, wasn’t it？ Love warped my judgment, blinded my eyes, rearranged the very lines on my face…until I could look in the mirror and see nothing but…a woman.
3.
GALLIMARD: Death with honor is better than life…life with dishonor. (He sets himself center stage, in a seppuku position) The love of a Butterfly can withstand many things—unfaithfulness, loss, even abandonment. But how can it face the one sin that implies all others？ The devastating knowledge that, underneath it all, the object of her love was nothing more, nothing less than…a man. (He sets the tip of the knife against his body) It is 19--. And I have found her at last. In a prison on the outskirts of Paris. My name is Rene Gallimard—also known as Madame Butterfly.
Act ONE. Scene One
[Song to JUDGE]
Rule One:
Men always believe what they want to hear. So a girl can tell the most obnoxious lies and the guys will believe them every time—“This is my first time”—“That’s the biggest I’ve ever seen”—or both, which, if you really think about it, is not possible in a single lifetime.
Rule Two:
The West has sort of an international rape mentality towards the East. Rape mentality, basically, “Her mouth says no, but her eyes say yes.” The West thinks of itself as masculine—big guns, big industry, big money—wo the East is feminine—weak, delicate, poor…but good at art, and full of inscrutable wisdom—the feminine mystique. Her mouth says no, but her eyes say yes. The West believes the East, deep down, wants to be dominated—because a woman can’t think for herself.