The Seattle post-intelligencer. [volume] (Seattle, Wash. Terr. [Wash.]) 1888-1914, 1891-10-10
THE ACTORSOF JAPAN
Performances In Morning, At
ternoon and Evening.
THE ORCHESTRA AND AUDIENCE.
Tchikawa Danfjiro, the Leading Artist,
Talented Man-Everybody
Carries . Fan.

Inc TOXIC theafer, In which Tchikawa Danl1iro,
the leading actor of Japan, is playing with his
troupe, Is undoubtedly the best in the country.
IL has double revolving stage, which, though
larger than usual, 10 still too small for an adj
vantaeeous display of scenery. They can repre-
sent guests room, a temple or garden, but
other scenes can hardly be satisfactory in their
rendering. They have no scene painters, they
ali draw ont of the perspective; 1t is the old
style and naturally no perfect illusion can be
accomplished. curtain that is drawn aside
separates the stage from the auditorium. How
ever, one can catch q glimpse of the latter
through little window with q sliding door.
The thaater has two galleries, one on a level
with the parquet. The floor Is divided into
square boxes, which are carpeted with clean
mating and, IL desired, chairs are brought in
by the ushers. Four persons are generally
admitted into box, one occupying each corner,
though they are sometimes ovsrCrowded with
six or eight persons.
During the performance little boys with trays
OF cake. tea, saki, persimmons and sweetmeats,
sell their wares, walking along the hat boards
that top the about foot-high partitions between
the boxes, which, in Japan, take the place of
orchestra chairs. The orchestra furnishes music
oy the means OF guitars, flutes and drums, and
Is placed over the stage. The performer on the
gaitar generally rises and explains a good deal
Of what is going on upon the stage.
japanese companies still continue to play at
all hours. The people prefer 1t, SO performances
are given in the morning, afternoon and even
ing. But the old-fashioned way of producing
the first act of three different plays, one after
the other, followed by act and finally act Of
the same three plays, has been abandoned. An
adjoining apartment 10 reserved for the dressing
rooms. That of Tehikawa Danijiro Is particu-
larly interesting. Numberless gorgeous costumes
hang on bamboo poles The whole room is stuffed
with ancient armory, old picture books and
boxes containing all manner of acting requi-
SITES The sword-rest holds a number Of swords
OF ancient and modern MAKE, among them
huge war sword to be used with both hands,
short and long swords, curved and straight, sim
gle and double-edged swords, ETC., each bearing
the name OF the maker engraven on the hilt.
On the floor stands large mirror, surrounded
by number OF candles, and an inlaid cabinet,
displaying variety OF wooden bowls with cos
metics, paints and brushes, different eolored
ink, silk rags, etc. In the walls is the cushioned
recess, holding little fire basin of glowing
Goals.
Tchikawa Danijiro IL q man of slight build
and low stature, but very mobile and graceful
He has black hair, dressed in the old fashion,
and clean-shaven face, rather old looking,
with prominent cheek bones. He is very YER
satile, playing comedy as well as tragedy. His
department, gestures, delivery and makeup are
so exquisite that he deserves to be compared
with the best American actors. Besides he Is an
/ cessfully to reform the Japanese theater by in
Producing whatever he thinks profitable of for
eign art. He is also considered one of the fore
most authorities on ancient Japanese history.
| customs and costumes.
The Japanese public are jealous theater-
| goers. And, though in former times the upper
classes did not care to have their daughters
attend the performances, a great change seems
| to have taken place. Enlightened minds are
| trying to fight and destroy all such existing
prejudices against the theaters. Lately even
| ladies have been introduced, for hitherto all
| female parts were played by men, who did il
| very cleverly. Their makeup and imitation OF
womans voice and movements were SO per-
| feet that nobody could tell the difference.
Many of their plays demoralizing though
| hardly more so tnan the French Others, on the
| contrary, are strictly moral. even written for
| didactic purposes. The Hdrd- Rirf or vendetta
| plays are in great favor, also are historical
and NEUROLOGICAL dramas, describing the birth.
/ life and death OF hero or the adventures ola
| god, but the Japanese always exeelled in CON-
| edy. The dramatists often ridicule present pol
| itics, and to avoid punishment and elude GEN.
| sorship the dramatic writer clothes his charac-
| tiers, ridiculing contemporary politics. in the
CARDS OF one of the historical periods, in partic-
| uar the demoralizing age OF the "Ashikaga
Mikadovate." These productions are not at all
! true to life.
| Foreigners are apt to consider the Japanese
language monotonous, which it Is not in the
least. Particularly the classic Japanese is most
mellifuous, every syllable is delightful to listen
the leading attraction. It naturally resembles
plays one is able to get clue to the laws that
| rule the much used fgurstive mode of convey
| ing their thoughts and sentimental.
Like most Oriental natures, they are extremely
| quiet in showing emotions relating to family
| affairs, and-what may seem strange to the for
| eigners-lovers In Japan never kiss one another,
but they are the more demonstrative, theatre
| cal and fantastic in their expressions of jeal-
| ousy, rage or revenge. scene in one of their
| comedies depicts young Japanese no0leman
| leaving for Europe. The aged father had
| accompanied him to the steamer. When the
| signal of departure had been given, father and
| son did not kiss or embrace each other, nor did
| they shake hands and say some parting words
they simply exchanged q look! And when the
| steamer left the pier neither father nor son
waved final adieu, but when the vessel was
| ont OF sight the old father hid his face behind
his fanl
The fan is great medium of expression with
them 1T serves for nearly every purpose. The
dude nourishes 1t as European would cane,
| young girl receives tile dainty presents on it
which her sutton brings her, the teacher uses it
| In school to reprimand the naughty boy and it
Is employed in the household TO extnguish can
| dies by creating draught.
Similar peculiarities can be noticed in great
many of the japanese customs and manners
| The japanese carpenter planes towards himself
instead of in the opposite direction. Cards are
| dealt towards the right and the play proceeds
accordingly. The bookkeeper first notes Down
the sum OF money and then the object for which
II was paid. Europeans prefer warm dishes and
| cold drinks; the japanese Ike cold dishes and
| warm drinks; They mount horses on the right
side, while the name 10 c0mbed TO the left
| Their horses stand in the stables facing the
door, contrary TO the European custom.
| Japanese sailor will never drag the boat behind
hip by the bow, but always by the stern. And,
while Europeans have their coat OF arms put on
the furniture and carriages, the japanese carry
| 1t on their clothing.
These are few of the hundred peculiarities
which strike the stranger on his arrival in
Japan, and without being somewhat familiar
with them il would be very tedious to watch
through one of their performances.
Haiti and the United States.