由當代華裔劇作家黃哲倫重新修改創作的復排版《蝴蝶君》時隔三十年再次登上百老匯的舞臺。在全球化語境下,復排版《蝴蝶君》展現出黃哲倫對性別和文化身份問題的全新思考。他將中國戲曲元素融入其英語戲劇創作中,解構東方主義的同時建構起"中國蝴蝶"的意象,幫助男主人公撕下"陰性"標簽,完成心理與生理雙重性別的反轉。同時,戲曲形式與情節內容的結合使抽象文化概念轉化為直觀易得的形象,中國戲曲元素因而成為新的敘事語言。中國戲曲對黃哲倫來說是中國傳統文化的重要象征,它與異質文化不斷碰撞、合作,因而磨合、成長,成為華裔劇作家構建新文化身份的重要基礎。

M.Butterfly: Broadway Revival Edition,written by the Chinese-American playwright David Henry Hwang, has been performed on Broadway since 2017. In the context of globalization,the revival edition shows Hwang’s thinking over gender and cultural identity. He has integrated the elements of traditional Chinese xiqu into his creation of American drama. While deconstructing orientalism,he has constructed the image of the "Chinese butterfly"and helped the hero remove the feminine label and achieve both psychological and physical sex reversal. The combination of the form of traditional Chinese xiqu and the plot of the drama transforms abstract cultural concepts into objective images,therefore the elements of traditional Chinese xiqu become a new narrative language. Hwang regards traditional Chinese xiqu as a symbol of traditional Chinese culture,which constantly collides or cooperates with heterogeneous cultures,breaks in and adapts,and finally becomes the foundation for the Chinese-American playwright to establish his cultural identity.