The herald., 1895-03-11

fact that he occupies the same high posi-
ton in the Japanese wor of dramatics
that Irving does in England. Daniero is
bowed down to by the world of Toxic, and
artistically towers head and shoulders
above all his rivals.
Personally he is little, almost insight
| ficant man off the stage. He is short,
! dumpy and modest, and much of his wide
popularity is due to his gentleness and
kindlness of character. He dresses in
European clothes ordinarily, and, having
liberal education, is conversant with
affairs in America and Europe, He is
good business man too, and in addition to
! being the leading actor of his nation, he
is part owner of the finest theater in
Toxic. He says that the Japanese actors
are not paid the immense salaries that
the English and Americans receive--in
fact, the pay j SO small that widely
known star could not accumulate by life
time of hard work moderate fortune.
If Danjero comes here the japanese
method of presenting a play will have to
be abandoned altogether or greatly cur
tailed In Danjero's Toxic theater the
curtain rises promptly at 8 a. m. and
does not fall until 5 p. m. This means
an eight-hour performance, which is
something more than most people care to
attend. -
play is that the Japanese drama portrays
only big events in the history of the
nation. Some of these events are so
lengthy that the play runs two, three
and four days. OF course in serial
drama of this kind the curtain invar-
iabl!y falls at some exciting climax; the
curiosity or interest of the audience is
excited, and they come the following day
to view the next installment OF the
drama. These serial plays are not unlike
the serial stories, novels, etc., printed in
periodicals They are conducted with
1 Il e. L L. =
time is concerned. For instance, if gen.
eral Lees surrender at :Appotomax were
the event to be portrayed, the play would
begin with the arrival of two great
armies upon the scene; then it would
show the preparations for a fight; the
SO later to arrange a meeting of the two
generals, and would finally conclude with
the surrender scene. All the details are
faithfully reproduced, and even if the
play does drag YEARLY at times, it is the
history of their country and give them
living interest in it's great leaders.
But if the play drags, the audience is
prepared for the tiresome spots and they
manage to enjoy themselves. The body
of the japanese theater is divided into
little compartments five feet square, and
separated from one another by low
fence or partition about foot high.
One of these little boxes costs from $1.26
to $3.50 day, and at this moderate ex-
pense husband, wife and several small
children can enjoy days pleasuring.
These family parties fill the theater, and,
with their little contrivances for making
tea, manage, with well provided basket,
to. make comfortable lunch in the
middle of the day. When the drama lags
these family parties chatter with one
| another at terrific rate. The noise
doesun't interfere bit with the actors or
the action of the play. 1t runs along
smoothly. even when the racket of the
conversation is so great that all other
sounds are lost in the hubbub.
| But as soon as the interest in the play
revives the onlookers are all attention.
The japanese, particularly the women
| and children, are q sensitive people, and
their emotions are easily stirred. They
are made to weep and laugh and applaud
vigorously as the occasion demands.
| The Japanese do not 20 in much for il
fusion in their theaters The scenic effects
can hardly be dignified by that term.
The stage revolves on pivot, and is di-
vided into three sections, allowing the
trifing change of scene without any in
PERMISSION. The actors step from one di-
vision to the other in full view of the
audience and the play goes merrily on.
| Another curious feature is the manner
of the players when entering the stage.
| There are no wings and nothing suggestive
of 'behind the scenes" When not on the
stage the actors remain in the rear part
of the theater, and when their turn to go
on comes around they. gravely pass
| through the audience, ascend a narrow
gang plank leading to the stage, and then
go on with their parts. This method of
entrance and exit creates no comment;
the Japanese are accustomed to it.
Notwithstanding that the fever Of pro-
"new woman" era has not yet reached