Morning journal and courier., 1885-08-25

eAoAA AAANoo uAiNOASo O NCiy one of the schools or conservatories of the drama which are found in nearly every large city in the fowery kingdom. A number of these schools are under the patronage of the emperor, but the majority of them are pri- vate institutions, presided over frequently by wealthy and, in all cases, most exacting masters, who receive pupils for a small an- nual stipend, and who remain in authority over them wherever they may be and as long as they live. All engagements with theatri calmanagers are made through these intellect ual ogres of the profession, and 8 written contract is always executed giving to the ex- teacher of the artist certain share Of the salary to be received usually about one-third This rule is ironclad, but it does not of course, interfere with the humber class of actors who constitute the army, the excited populace, or the band of robbers. who are not required to attend the dramatic schools, and who are prevented by cast distinctions from ever rising in their profession.
 The Chinese drama is essentially con- ventional, all the plays being written after stereotyped plan as to the wording and dis position of parts, although they vary in plot and situation. They are as ancient as the hills. Beside them the plays of Shakespeare are comparatively recent productions. The great favorites with the Chinese theatergoers are the Yuen Chin pc Chong, or hundred dramas from the Mongol dynasty GA D. 126O- 1341), wherein are set forth the matters of history relating to the wars of the Tartars with the adherents of the Ming, or native, dynasty. These dramas are arranged in series, covering the exciting periods of twenty-five or thirty years, and sometimes require whole months in their presentation. Following these, in their chronological order, come the struggles of the Mantchus with the Ming government, and the Taeping rebellion of more recent times. The Mandarin element as rule, however, affect to despise these latter productions, and adhere firmly to the good old dramas of four or five centuries ago. The Yuen Chin pc Chong illustrate all the phases Of life in the fowery kingdom under the old rulers, and afford opportuni- ties for the display of every variety of emo tion known to the Chinese dramatic perform CT.
 When thoroughly schooled in his profes- sion and placed in possession of the extensive repertoire over which he has gained the mastery after years of toll, the actor is ready to make his debut. Versatility is not one of the requisites of the profession from Chinese point of view. The tragedians, female im- personators, singers, and comedians, high or low, pursue their specialities with greater rigidity than do s'Bones' and the "Tambo" on the American minstrel stage. In every piOSO bAcIO 1o O SlASILS ROISOu, dS u0 IS Cdll- ed, who introduces a species of dramatic poetry sung to popular melodies, and which appear to correspond in rude way to the Greek chorus. There is invariably comic part but this is generally introduced as an interlude, and it is doubtful if it has any real connection with the play itself, the Chinese comedians work probably core spending to that of the actors in the farces and afterpieces formerly considered so essen tial to the success of the English and Ameri can drama. As with us, the tragedians are the thigh mucky- -mucks" of the stage Their duties are arduous, their robes heavy, their 'flnes" voluminous, and their support meagre.
 A close observer of the play in Chinatown will be impressed with the fact that Chinese audiences are more critical, or, at least, more outspoken in their criticisms, than are white theatergoers. While making little if any demonstration when they are particular ly pleased, they take no pains to conceal their disgust with what is not strictly au fait, and bad actor on the Chinese stage feels less at home than do many of our pompous ranters and scene chewers, who are tolerated out of ill-judged sympathy or a Christian like spirit of forbearance. Kissing is never heard, but the long drawn and far more eff fective "Ugh! ugh!" resounds through the theater, and the subject of these expressions of disapproval is often compelled to leave the stage, very fortunate if he succeeds in lodging the soda-water bottles, bits of cane, and decayed fruit which are aimed at his re- treating form
 That entertaining individual, the low comedy man, as seen in our Chinatown theaters, is considered fixture if he suc- ceeds in ingratiating himself into public favor His work is apparently simple enough; he has few ''fakes' to arrange, no ''gags' to study up, and his makeup is not at all elaborate. His business consists chiefly of droll sayings, grotesque move ments of the arms and legs, facial contortions series of bounds about the boards. His part of, the performance is generally mono logue, depending little upon the other roles. It is intended to fill up certain space of time while preparations are going on behind the scenes. If the comedian finds himself at the end of his vocal and physical gymnastics before his time is up he is either reinforced by another funny fellow or repeats his per- formance.
 Juvenile characters are assumed by elders, who are fitted for this class of acting by a dwarfng process begun in early childhood. Their stimulation of childish tone and man. ner is often strikingly realistic, and novice is sure to be deceived by their studied presen- tation of youthful innocence and artless- ness.
 The males who undertake the feminine roles are very carefully schoo1ed, and in many cases attain degree of perfection in their peculiar art which is the envy of all American female impersonators who have witnessed their performances. They are all ways in good demand at high salaries, and if their squeaking falsetto grates harshly in American ears, that is no reason why it should not be listened to as the sweetest music in which a Chinese delights. The cos tunes worn by these impersonators are often rich and costly; in fact, there is little of the tawdry and make believe of our theaters seen upon the Chinese stage-no glass diamonds, rolled gold, or cheap drape- ". Silks, faces, solid gold, pearl, tortoise shell, and ivory ornaments are worn, well as the glossiest of headdresses and the tiniest of sandals.
 The old man parts are among the most natural and successful creations of the Chi nese stage. Understanding to perfection the art of making the old appear young, it is no wonder that they have attained in high degree the art of making up for the aged characters. The flowing beard, gray hair, and wrinkled face, the bowed figure and trembling limbs are very closely counterfeit ed while the voice of the aged mandarin is heard in shrill and quaking tones. If in the repetitoin of the long lines in which he be- walls the loss of his forty second cousin, di lates on his own valorous deeds upon the 1 bloody field, or sings the praises of some celestial beauty, the memory of the unfortu \ nate actor should play him false, there is nc convenient prompter upon whom he car rely He must have every word as pat as 1 photograph, for if he falters or substitutes ! he will be rallied by the audience with the \ distasteful ''Ugh! ugh!'' It often happens l that the auditors are well acquainted witt l the part, through many rehearsings, as the actor himself, and evil betide him if he neg l lects his duty.
 l Under the contracts made by the players l they must remain in the fowery kingdom and it is only by precipitate flights that they escape these obligations and come to thi' 1 country. Like many of his profession il i other lands, John, the actor, is noted for his l thriftlessness and improvidence. When no on the stage he is at the gambling table, ans he often finds after night of reckless play | ing that he is indebted to some gamin. | mandarin to the extent of his coming year. 1 salaries. These and other consideration cause him to take French leave of his mana l ger and master, and try his fortune in othe l parts. In this manner have the Dan San 1 Flung, Loak Sang Flung, and other like estah lishments of this city been stocked wit talented members of the profession, an
 there is little eificulty in forming compar
 ies consisting of from thirty to fifty actor for tha amusapoapt of tba fboofa,roarS in fh