Chapter One Introduction
1.1 Literature review
1.1.1 Critical reception of Hwang's theatre in Chinese Mainland
1.1.2 Overseas critical reception of Hwang's theatre
1.1.3 Comments on critical receptions of Hwang's theatre
1.2 Research objectives
1.3 Methodology
1.4 Terminologies
1.5 Theorizing performativity:a Butlerian lens
1.6 Structure of the book
Chapter Two Unnatural Narrative: Disrupting the Coherence of Master Narrative
2.1 Unreliable narrators: perpetuators of stereotypes
2.1.1 Dale in FOB : the embodiment of internalized sterotypes
2.1.2 Gallimard in M. Butterfly: perpetrator and victim of stereotypes
2.1.3 Ahn in Golden Child: a witness to enactments of stereotypes
2.1.4 DHH in Yellow Face : an upholder of the notion of authenticity
2.1.5 Summary
2.2 Anti-realistic characters: rejecting the process of performativity
2.2.1 The notion of performativity in Trying to Find Chinatown and Bondage
2.2.2 Performers of multiple roles in FOB, The Dance and the Railroad and M.Butterfly
2.2.3 Marcus's "passing" in Yellow Face
2.2.4 Summary
2.3 Unnatural temporalities : disrupting the linearity of master narrative
2.3.1 Memories and flashbacks
2.3.2 Fusion of the impossible and the mundane
2.3.3 Summary
2.4 Anti-mimetic spaces: breaking fixed spatialities and creating heterotopias
2.5 Hwang's unnatural narrative and the notion of performativity
Chapter Three The Metadramatic:Generating Estrangement and Critiquing the Process of Performativity
3.1 Varieties of the metadramatic in Hwang's theatre
3.2 The play within the play:breaking the dramatic illusion
3.2.1 The play within the play in FOB
3.2.2 The play within the play in M. Butterfly
3.2.3 The play within the play in Golden Child
3.2.4 The play within the play in Yellow Face
3.3 Role playing within the role: creating double identities and negating homogeneity
3.3.1 Role playing within the role in FOB
3.3.2 Role playing within the role in M. Butterfly
3.3.3 Role playing within the role in Yellow Face
3.3.4 Role playing within the role in Hwang's other plays
3.4 Self-reference: creating estrangement and urging the audience to reconsider reality
3.4.1 Self-reference in M. Butterfly
3.4.2 Self-reference in Yellow Face
3.5 Hwang's metadrama and the deconstruction of essentialist views on identity
3.5.1 The function of the play within the play
3.5.2 The function of role playing within the role
3.5.3 The function of self-reference
3.5.4 The function of other metadramatic devices
Chapter Four Heterotopic Stage Space:Opening Up Possibilities for a Color-Blind Communitas
4.1 Heterotopia: a liminal space
4.2 Heterotopia in/and theatre
4.3 Heterotopic spaces in the performances of Hwang's plays
4.3.1 Real spaces that have heterotopic qualities in Hwang's plays
4.3.2 Imagined heterotopias in Hwang's plays
4.3.3 Multimedia performances in Yellow Face:creating a heterotopia to express the fluidity of space and identity
4.4 Hwang's heterotopic stage space and the setting-up of a color-blind communitas
Chapter Five Conclusion
Appendix
An Interview with David Henry Hwang
Performative Identity on a Liminal Stage: An Interview with David Henry Hwang
Bibliography