The Kemper herald. (Scooba, Miss.) 1875-1908, 1904-06-02
A JAPANESE THEATRE.
A Queer Place, According to the No
: tons of O~ccidentals.

A Japanese theatre is a very curious
affair, both inside and outside. Blood
curdling posters in flaming colors
usually adorn the entrance, and scores
Of gaudy little Chinese lanterns are
hung about to make it look attractive.
The Japanese, however, do not need
much enticing. They are a nation of
merrymakers, and the theatre is one
Of the chief sources of their amuse-
nent.
Japanese drama is rather q lengthy
affair. A play usually starts at about
10 in the morning and goes ON until
midnight with intervals, of course, be-
tween acts. Theatregoers make up
parties to attend the play, and pre-
pare luncheon baskets as though they
we're going out for a picnic. Thus
they are able to have their meals with
the same regularity as they can at
home.
The theatre is not very luxuriantly
furnished. The pit, the favorite part
Of the house, is merely a collection of
bare wooden seats. The boxes are des-
olate little places furnished with stools.
The ventilation is usually very bad.
and, as smoking is allowed, the thea
tire positively reeks with tobacco
fumes by the time the play is in full
swing. Two curious customs prevail
in Japanese theatres. The female por-
ton of the audience invariably sits
apart from the men, and for the pay
ment of a small sum you are per-
mitted to stand and watch the per-
Torrance regardless of the annoyance
to those seated behind.
The stage itself has some peculiar
tiles, too. At both ends a platform pro-
jects out into the auditorium, and
whenever a person is represented as
starting on or returning from a jour
ney, the actor always makes use of
this projection. The stage is fixed
scene is necessary, the whole, actors
included, can be turned bodily round.
Women do not act upon the stage;
any female part hat occurs is played
by a a specially trained for that
purpose. When actors are delivering
their speeches attendants tighten up
their faces by means of candles fast
ened upon long bamboo sticks.
When the play commences the au-
dience is called to attention by the
rapping of a little mallet. Besides the
actors proper there are other persons
concealed ohnvn tho cfaua who Gin
the chorus, accompanied by the sam
ison. The noise these people make is
enough to deafen the foreigner, but
the Jap sens to find immense pleas
ure in the din. and discord. AS the
actors warm to their work the noise
increases, and the house has all the
appearance of a pandeQonium. The
players leap and bound about the
stage, and give such ear-piercing yells
as would make a red Indians heart
turn green with envy. This continues
until the first act is over. However
much the spectators may have APP
proved or disapproved of the acting
they remain quite passive, as it is not
the custom in Japanese theatres to
shout or clap the hands.
During the interval luncheon bas-
kets are brought out, and the people
regale themselves upon such delica-
cies as eggs, fruit, and rice cakes.
The afternoon section of the perform
ance passes away in just such a hub
bub as did that of the morning. An
other interval-this time for tea-and
servants from neighboring tea houses
appear and bring round tea, rice, eggs
and sweetmeats for the consumption
of the hungry audience. When the
curtain goes up on the last instalment
of the play the spectators are again
all attention, and rarely take their
eyes off the actors or do anything else
save puff away at their eternal pipes.
About midnight all is over. and the
audience pour out into the street de-
lighted with its days pleasure, albeit
the next morning may find it with a
splitting headache as the inevitable
penalty. The plays hat find most ia
vor among Japanese theatregoers are
such as contain much melodramatic
incident. Historical plays dealing
with the ancient days of the Japanese
empire are also very popular and
draw big audiences to the playhouses.
-Tit-Bits.