Surname 2
racist attitude is his claim while serving as an Ambassador that the “Orientals” in the Vietnam
War will support the stronger side.
Sexuality is another dominant theme of the play. The critics such as Zamora argue that
Hwang ensures the efficient use of the American-based issue in the play to instill both the
cultural and political reformation concerning the perceptions of the individuals on gender (Ross,
421). However, it is evident from the plat that besides attempting to convey the political notions
associated with the overlapping West/East theme, he further tries to transform the cultural
outlooks of homosexuality. Numerous themes in the play tend to integrate these two themes
between both the West and East and towards the inner sexuality as well. For instance, the
makeup that Song has while on stage is stark white aimed at representing the western values of
beauty and culture (Henderson, 4). Moreover, it represents the sphere of thought representing a
white, heterosexual perspective. Such is evident in the fact that Song is attempting to cover up
the pariah associated with his homosexual nature through masking himself with white which is a
representation of a heterosexual body.
However, the two themes depict the presence of a metaphorical dilemma in the instance
whereby Song, in responding to the question on why the men play the roles of the women in
Peking Opera states, “Because only a man knows how a woman is supposed to act,” (Hwang,
49). The response that Song gives, in this case, depicts that besides his accurate portrayal of the
character of a woman and exercising absolute power over Gallimard that he lacks, he manages to
push Gallimard towards putting on a persona of the heterosexual male due to his knowledge of
the actions of such character.
Additionally, gender relations is another central theme of the play. The trial, conviction,
and humiliation of Gallimard contribute significantly to his stripping off of his fantasy
