The Birmingham age-herald., 1904-05-15
THRILLING PLAY SEEN
 IN A JAPANESE THEATRE


 -------------------~-~--- flowers The construction of the Japa- nese house give the stage manager an- other advantage; for as the Japanese work, eat, and receive visitors in houses one side of which is open to the air t is possible to show what is going on at the same moment both inside and ont side of the same dwelling.
 But other features of the Tokio fhe- atre did not lean toward realism The prompter sat on the stage in view of the audience. and the fact that he was dressed in a skin-tight suit of black with a black hood, like chimney sweep or goblin. and that he kept his face always from the spectators, was supposed 10 render him invisible Another black imp re- mained on the scene to act as dresser and stage manager. It was his duty 10 assist an actor in making any alteration in his costume. and 10 carry away any prop that had been used: a letter fan or tea-tray If he thought an actors sash was not properly fastened. he would creep up behind him, even though the ae- tor were speaking, and t;e it properly We were not supposed to see him do this. As as matter of fact if was curious now soon one failed to note his presence.
 Preceded By Classic Play
 The war drama was preceded by a classic play. The same actors appeared in both, but their methods in each were entirely different. In the war drama they were conventional, natural people; in the classic play they followed the traditions of the old days and of the old players, and moved by jerks with long strides, speaking in shrin, falsetto tones, or re- maining for many moments like mute, im- movable idols Originally, what is now the classic drama was played by mario nettes, and when real people were sub stitued for them. it is said the actors instead of initiating their felow-men as they saw them around them, copied the dolls. This theory is offered to explain the jerky gestures from knee and elbow, the fashion of standing with legs far apart bent at the knee, with the toes turned out. The strident tones are sup posed to be an imitation of the false voices used by the man who talked for the different dolls. Others believe that the suited acting in these old dramas is a correct but exaggerated reflection Of the actual movements and gestures of the days that were choked with artificial ity, ceremony. and etiquette. Now these classic plays give the best picture of ancinet Japan which it is possible to ob- tain. They reproduce the days of the Shoguns, the Daimios, the two-sword men, They show modern Japan how these men lived and moved, how they wore their robes and armor, the ceremony that obtained among them. and their manner of using the sword the teacup and fan. With us the comedies of Gongreve or Sheridan are so seldom played that even in London it is difficult to find men who are at their ease in wigs, small clothes, and ruffles, who can present snuff box with eleglance, or exclaime "damme' and fore Cad with conviction. They have not been trained to the artificial manners of the eighteenth century. But in Japan modern plays are very mod ern innovation, while the traditions of the classic drama through many years have been handed down from actor to ac- tor and always to the best actors. For here the best of the older actors selects the most promising among the younger, and adopts him as his son, instructing him in all that pertains to his art When the great actor sdfes, the pupil takes his name and inherits not only his experi- ence, but his museum of priceless robes, kimonos. swords, and armor.
 The war drama was entirely modern. It had no chorus to. interrupt with it's comments and prophecies; the costumes l and uniforms were such as you saw be- l fore you in the auditorium. and the stage | properties wete sosup-to-date that they included one of Walter Camps eight l day clocks, which Is the first thing that ] shocks the seeker after atmosphere ir | every paper screened doll-like house in 1 Japan.
 Scenes Are Realistic.
 The events in the first act occurred 1 some four years ago in a Japanese sea l port outside a Shinto temple, where the l priests. villagers, and fishermen were l holding a festival Into their happy hol- 1 iday came band of drunken Russian sailors, who threatened the priests beat l the old men, and, what was much worse l kissed the women. With screams the vil- lagers fled and the Russians pursued. A l fisherman, who in the classic piece had played a Dainio. arrived on the scene and announced that alone he would drive the sailors from the. village. As he rolled LII his skirts leaving his legs bare, the audi ence howled and applauded just as they do when one of our leading men throws off his coat and tucks up his sleeves. The curtain fell on the fisherman's VOW tc aVenge the 7insult to the temple and the women. The curtain rose as soon as il 1 fell and we-found that the stage revolved l like a railroad turn-table, and that while l one act was going forward the scene | was being set for the next. In this act | the fisherman kept his promise, and the i sailors with their officer were driven tC | their shore boat. But as they pushed of the Russian officer shot the fisherman anc he died Thd turntable spun again ana we saw the home of his son. Four years had elapsed and war between Russia and
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