Abstract: Most Chinese scholars examine the play M. Butterfly from what they call a postcolonial perspective, but their postcolonial criticism almost unexceptionally silences a crucial dimension—the body. M. Butterfly presents the human body as not only disciplined by but also deviant from power, as is illustrated by the protagonist Gallimard, who, in the process of fulfilling his bodily self, gradually rids himself of the discursive control of the imperial power.