The morning news. [volume] (Savannah, Ga.) 1887-1900, 1892-12-07
ton. Some of the other plays require

people who present them. In China there
are a few play houses in the very large
cities, but they are bleak and bare as barns.
The company usually erects in one of the
streets OF the town where It plays a big bar
raoks-like building, in which it presents
Its performances. San Francisco has the
finest and largest theasers in this country,
and they are veritable caves Of gloom. The
largest one Is entered through a common
narrow street door. A flight of steep steps
leads up to the auditorium, separated from
the stairway by an arch hung with dingy
curtains. The floor Slope slightly toward
the stage, which reaches across the end of the
long, narrow room. The seats are hard and
uncomfortable, but they are nearly always
niled. Ihere are two galleries, rising
directly above each other, around the room,
with common fence-board kind of railing
around them.
THE INTERIOR.
The room is dingy dark and disreputable
LOOKING In the half light thrown through 1t
by smoking candles and kerosene lamps. 1t
costs two bits" to get inside and that pays
Tor the play, piece of psndsmonium and
various stages Of absorbed opium drunks,
Tor OF the thousand or more present not one
ls without cigarette soaked in opium, and
these are all burning. The air Is fetid and
heavy with the soul-murderinR fumes
which roll up and around the galleries to
meet the upper current of smoke, aud find
Ing no outlet it all settles back Oh the
smokers, staining the clothing with slimy
poison damp.
ON THE STAGE.
The stranger on a visit to Chinese
theater Is honored with seat on the stage,
which is reached by devious paths through
the back way. Seated IN ono of the great
arm chairs Of ebony and silver, inlaid with
priceless mother OF pearl, a part of the stage
paraphernalia, one stares out oyer a sea of
hats Small round black hats, yet miles
too big for the small brains and smaller
weasened oriental faces which peer out
from under them. Rows and rows and
rows OF hats as calmly immovable as though
hung on dumb effigies of men. Up the
walls tier on tier, more hats and
more small yellow faces. All hats
no bonnets. "For men only" is the
sign that might be hung on Chinese
theaters, for women are never found there.
Sometimes In the little cage-llke boxes up
near the ceiling females are found, but they
are not called women. They got away
from that title long before they began to
frequent Chinese thesters.
Those who bemoan the tendency TO pam
der to the artistic sense in stage adornment
and settings would be pleased with the
Chinese stage. IL has no drop curtains, no
footlights, no wings, no scenery, no call
It's baroness. Ii is not very deep and is
well elevated. At either side In the wall at
the back OF the stage are doors leading into
the suoterrauean passages OF an opium
dive and the one small property room.
There are no dressing rooms.
THE CHINESE BAND.
In the center back OF the stage the band
is disposed. A Chinese band would strike
terror to the souls of Satan's imps The
eminent artists who manipulate the various
instruments and maltreat melody In the
name of music probably know the names of
the machines they play upon, but the secret
Will die with them. There are two big
brass affairs that look like cylinder heads TO
mogul engine. They are the giant rela-
ton of the civilized cymbals, and when
piled by an energetic son OF Confucius sound
like boiler factory in full blast Then
there are cousins to American fddles
which are certainly haunted by the
cats whose internal organism is sup
posed TO give them voice The unearthly
yowls produced on them resemble nothing
80 much as tomcat concert. There ere
horns whose elongated necks produce ten
times more noise to the square inch than
did Joshua's at Jericho. There are drums
and drums with tones like q tin pan. One
performer plays devils tattoo with chop
stick on the head OF a barrel, and another
blows on something that must be the mother
to the instrument OF torture known as a
kazoo. Against the playing of one or all
of these instruments the actors have to talk.
AS long as the play is on the musicians per-
form and their misapplied energy is worthy
a better cause.
THE ACTORS.
The "leading man, ;" who always sings his
lines In most dolorous tones is the 'Sue
Sang" Of the Chinese drama. His salary is
seldom more than 81 200 year. The gem
eral utility man, who plays the "Fah Dahnn
parts, is high-priced actor, getting $1,000.
The heavy tregedian or $500 Moon gets
| $4,000. The low comedian or "Chop CHI
| gets 81, 400. The first old woman" who is
a mani. or Lue Chow of the drama, gets
| Sl,600. There are under studies and sub
| stitutes just the same as In all well-con-
| Quoted play houses.
The Imagination of the audience is not in
the least hampered in Chinese theater.
| The actors change their costumes In full
view of the audience. The heavy villain
| puts OF his makeup before the people
| whom he purposes to plumber or put out of
the way. and while one set Of people discuss
their plans those who are expected to cir
| cumvent them stand around in various at
titudes calmly waiting their turns.
When Reginald falls on the edge of q
murderous broad sword In the two hands of
| his hated rival he lies till his presence is no
| longer required. then ambes to the end Of
/ the stage to wait his turn to imperson-
ate some other character. Angelina's
husband discovering her in the arms
| Of her lover drops her head OFF
in practical rib steak way. Angelina obe-
diently succumbs TO the decapitation and
tumbles promiscuously at somebody's feet
| When the heart rendering" scene is over
she picks herself up and retiring TO a corner
of the stage proceeds to adjust her rainent
and smoke cigarette.
THE WARDROBEs OF CHINESE ACTORS
are magnificent beyond description. The
stiffest OF brocades, the richest of silks, the
| thickeet of satins, and all heavy with em-
broidery OF gold and silver and encrusted
with jewels.
Chinese actors never attend stage re-
hearsals. They are trained in the conven-
tional and mechanical arts of their prof es.
sion from the cradle up. The words of his
part are only used as a settling for
his previous knowledge. The Chinese
have no gags" and no funny bust
ness" Chinese audiences never applaud.
The new funny sallies are received with
| quiet grins or grunts of disapproval. No
more, no less. But Chinese audience is
extremely critical, and if the Rrunts of dis
approval grow at all emphatic the actor
| who calls them forth is fred remorsalsssiy