4 bits of dialogue
3 references to music
2 bits of costuming
1 reference to set design
"Please. Hard as I try to be modern, to speak like a man, to hold a Western woman's strong face up to my own... in the end, I fail. A small, frightened heart beats too quickly and gives me away. Monsieur Gallimard, I'm a Chinese girl. I've never... never invited a man up to my flat before. The forwardness of my actions makes my skin burn."\
"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."
"They hate it because the white man gets the girls. Sour grapes if you ask me."
"It is possible that her stubbornness only made me want her more. That drawing back at the moment of my capitulation was the most brilliant strategy she could have chosen."
"surrounded by the percussive clatter of Chinese music... Then, slowly, lights and sound cross-fade; the Chinese opera music dissolves into a Western opera, the "Love Duet"... gives them a balletic quality."
"The "One Fine Day" aria creeps in over the speakers. With her back to us, Song mimes attending to her toilette. Her robe comes loose, revealing her white shoulders."
"A driving rhythm of Chinese percussion fills the stage... Percussion starts up, with Chinese strings."
"Song, dressed as Butterfly, appears in the upstage special. She is obviously distressed. Her body swoons as she attempts to clip the stems of flowers she's arranging in a vase."
"Two dancers in Mao suits and red-starred caps enter, and begin crudely mimicking revolutionary violence, in an agitprop fashion."
"Downstage, Song paces as Comrade Chin reads from her notepad. Upstage, Gallimard is still kneeling. He remains on his knees throughout the scene, watching it."
