The evening telegraph. [volume] (Philadelphia [Pa.]) 1864-1918, 1869-12-11
JAPANESE THEATRES.
lpp'cton's Journal has the following.


The theatres of Yeddo, the lannon's canital
OF Japan, are nearly all gathered in the great
square OF Yamasta, the most thronged lo-
cahty OF the city. There are from twenty to
tnlrty places of amusement, large and small
theatres for buffoons, jugglers, narrators of
Legends, and the actors of farces and historic
masquerades, besides one or two Olympic cir
cuses. On the sides of the square. at the
entrances to the public gardens, and along
the promenades planted with trees, there are
any number of little restaurants, light booths,
and sheds, devoted to recreations Of a lighter
character, such as those that characterize
German beer-gardens or English concert
saloons. The materials of which these
are built are everywhere the same-all light
and very destructible. But if the buildings
are uniform and simple in their construction,
not 80 the devices to secure patronage. From
facade to facade there is an incredible luxury
of posters, signs, pictures, and banners, of
the most brilliant colors, displayed. The
criers, on their part, add to all these allure
ments the charms Of forid and indefatiga-
bic eloquence, with an assorted accompani-
ment OF big drums, tamborines flies, and
trumpets. The principal spectacles announce
themselves, to distance, by means Of high,
square towers, which are, in reality, nothing
more than bamboo cages, covered with oiled
paper
The Japanese theatre is largely modelled
upon the Chinese, both dramatists and actors
being more or less controlled by the conven-
tional methods of their masters of the Celes-
tial empire. But, If japanese actors are in
ferior as artists, and the Japanese drama is
not equal in literary merit to that of that Of
the Chinese, the performances in the theatres
of the former are superior in poetic point of
view, being characterized by greater sim
plclty, more passion, and greater fidelity to
nature. In China, the audience witness the
representation, and judge the performers,
while IN Japan the audience take part in the
representation, and become, in some measure,
the rivals of the performers. The dramatic
authors of Yeddo write chiefly for the theatres
of their own city; from these their pieces
soon find their way to the other cities of the
empire. The troupes of comedians of Asaksa
spend their vacations in travelling In the
provinces like the troupes of athletes of
Hondio. They are composed of men exclu-
sively. Women are only employed on the
Japanese stage as dancers in the grand opera.
The great theatre of Japan is the Sibaia
which presents one of the most interesting
curiosities in the world. 1t is the theatre,
par egcelIeace, of the middle classes of Japan,
but it attracts also many of the coolies and of
the other lower orders All who, in the social
scale, are above the middle classes, either
abstain entirely from going to the theatre, or
Il
rate them from the rest of the auditorium.
Among the crowds that assemble in the
neighborhood of the theatres at the hour of
the parade, it is rare that man is seen with
two sabres-the mark OF noble rank. 1t is not
that a Samaurai may not be seen here and
there among the common people, but he is
careful to guard the strictest inc0gnitO. A
nobleman (n0iboun), disguised and without
arms, can go almost anywhere without com
promising his dignity, although he may be
recognized. rt.ta g....|E f.
The grand parade always takes place Just
before sundown. On a sort of platform, at
the right and left of the theatre door, a dele
cation of the company appear, in ordinary
citizens costume, and harangue the multitude,
announcing the subjects of the pieces for the
evening" and enlarging on the superior merits
of the principal artists to whom their inter
probation is intrusted. To this exordium
delivered with becoming emphasis, succeeds
series of hackneyed witticisms, more or less
mimicry, and an exhibition of the grand art
of manipulating the inevitable fan. The Ian
terms are now lighted, and crier sings out,
at the top of his shrill voice, 'sWalk in, gen.
tlemen! Walk in, ladies' Secure your places;
now is the moment: we are about to begin.
No one, however, is in any haste to pro6tby
this pressing invitation; the spectacle in the
street operating as powerful counter -attrac-
ton. Two or three rows of small lanterns,
suspended in front of the building, do their
share toYard enlivening the scene, while,
near the doors, there are enormous oblong
lanterns, so placed as to throw their light on
large wooden posters, containing inscriptions
and rude paintings, representing the princi-
pal scenes of the pieces. Some of these
wooden posters are as high as the building
itself. Each theatre has its arms and colors
which are made to ornament its signs
banners. and lanterns, and, ii
gigantic proportions, three sides of a sor
of belyedere, or square tower on the top o.
the edifice All the buildings adjoining thos'
of the Sabaia are occupied by restaurants
and rival the theatre in external decoration
not in the extent of ornament, but in it
artistic merit This decoration consist
usually of such paintings and sculpture a
the name of the establishment suggests
There is restaurant of the Foussi- Yama
another Of the Rising Sun, of the Merchan
Junk, of the Crane, of the Two Lovers, etc.
But it is time to enter the theatre. w
ascend the wooden stairs that lead to the Sc
eond gallery. An usher opens spacious bo
for us, and his servant brings, on salvel
saki, tea, cakes, candies, pipes, tobacco, an
a bgaser0 The auditoriuIns of the Japanes
theatres are usually oblong in form, with tw
tiers, the places in the upper being cons
dered more desirable. In this tier, there al
a good many ladies in graiade toilette, that i
immersed up to their ears in their GRAZ
robes and silk mantles. The lower gallery
occupied only by men. There are no foo
nights, nor is there any orchestra. The pa
terre, seen from distance, resembles ches
board. being divided into compartments
eight places each. The greater pa
of them are rented by the year