Accuracy and Dignity: Staging Madama Butterfly in Occupied Japan

Abstract

ABSTRACT Puccini’s opera Madama Butterfly has long been viewed in Japan and abroad as demeaning Japan, portraying Japanese women as helpless victims of a cruel society, easily exploited by Japanese and American men. But a remarkable 1948 production by two Japanese men, Fujiwara Yoshie (1898–1976) and Aoyama Yoshio (1903–1976), reimagined the typical Euro-American staging to display their vision of a ‘real’ Japan, one they also believed most faithful to Puccini. Not only did their production mute the inequities present in the opera; it was initiated, funded, and fully supported by the US Troop Information and Education (TI&E) Section in Tokyo. Ultimately, the Fujiwara and Aoyama interpretation became the dominant staging of the opera worldwide for decades to come. Exploring the institutional, political, and popular interest in Madama Butterfly in occupied Japan, this article examines how this 1948 production bolstered the Cold War narrative of the US as a non-colonialist, democratizing power striving to liberate Japanese women while celebrating Japan’s ‘return’ to its native aesthetic traditions.