Shoshone journal. [volume] (Shoshone, Idaho) 1884-1931, 1899-06-02
Especial Lottery


Whoever nrst called Mr.. Ichikawa
DanJuro the japanese Irving WAS not
unhappily Inspired. says the London
Sketch. He stands ~ unQuestionably
~ the head Of his profession a Tho
.uncrownsd king whose palace II the
nyceum: hs h associated by his fell
Jow-countsymen, ~ We associate Sir
Henry. With = splendid series of his
toric Impersonations: he has done
great deal to raise the status and en-
nance the prestige OF actors: he en-
Boys An income far exceeding that OF
~ prime minister. and. next to Mar
Qu1s Ito. IL perhaps the most popular
psrson In Japan. In one respect he
esrtatniy surpAsscs our greatest actor.
We can hardly imagine the portrayer
of Beckett, Of Shyiock and Louis XII. IA
voeably impressing his audience In tho
roles OF PortiA or Beatrice or Lady
Macbeth. but such androgynous fcats
arr frequently accomplished by the
Tokyo favorite. who. moreover. At the
Ags Of IS. II still capable OF much axil-
ity - : dancer In tho ''Damari" or
somewhat lurid march OF q ksven-act
tragedy.
He belongs to . family which has
been on tho boards for nine genera
ttona The original Danjuro made his
debut In 1878. and the present bearer OF
that name made his first appearance At
the ags OF :. In 1870. and was adopted
~ Gonjuro. under whose name he
played until 1874. when he resumed his
fathers. When add that his name in
private life IL 6hu Horikoshi. and that
fellow actors call him Naritaya, you
viii admit that this passion for an
alias. common to all classes. II confus-
1ng to the definitely labeled foreigner.
In tho old days. when every play OF
importance drew = series OF colored
prints from Toyokuni and his disciples
Of the brush for the delectation OF ma
tive playgoers. and. ultimately. Of Eu-
ropean collectors. the world Of num-
mers Was despotically ruled by caste. |
Halt = dozen families enjoyed tho sole
right OF training and adopting novicss,
Of transmitting technical secrets. and |
sven OF playing particular parts Now
adays ali that Is changed. In the alb
Bence OF an endowed tbeater or any |
system Of theatrical training every
lyrO must shift for himself In tho free
light OF unlimited competition. This
& far from being an unmixed evil. 1t
1t least guarantees some loophole for
which was much hamper
I'd under the old regime Of reverent
imitation. Mr.. Danjuro himself has
initiated many stage reforms. II Is he
Who made facial expression 4 far more
Affective weapon In histrionic armory
hero than here, not only potent but
possible. The Grotesque faces, barred
Nth blue or red stripes. which Kuni-
voahi and Kunisada painted. may have
impressed an old-fashioned audience.
tut tho moderns are more to be en-
lied who follow with obviously In
ense emotion the vivid play Of feel
ne on mobile features during scene
Ifter scene Of battle, murder and sud
len death. Every foreigner who has
Witnessed Japanese play must have
egretted the artificial defamation OF
peeches. pitched very high or very low
. tone. to esade the never silent sam
zen Il kind Of three-stringed banjo).
vhich accompanies the performer. like
curse. from start To finish. Other ac-
orr now follow Mr.. Danjuro's example
\ combining ~ far - possible this CO.
accidental music to particular scenes:
Ais enables them To use their voices