Los Angeles herald., 1908-04-17

IXwM wi stage has not responded to
W Efkll the influence of modern civil
M VS ization as promptly as the
IL newspapers and the schools, a
leaning toward western dra-
matte ideals is beginning to
| show ITSELF Toxic audiences have
wept over the woes of Camille" and
"Uncle Toms Cabin" has made its ap-
peal to oriental sympathy. An elab-
crate production of the Merchant of
Venice" with European costumes, has
been given in the Japanese tongue at
one of the theaters in Yokohama. The
"Old Homestead" as played at a Toxic
park, would doubtless give Mr.. Dem
man Thompson a great shock If that
venerable actor could see the eastern
version of his great play.
The introduction Of modern ideas has
divided the Japanese stage into two
schools one of which clings to the old
classical style of play and manner of
production; the other striking out in
dependently for the adoption of up-to-
date methods. The task of elevating
the stage in the east is no small under
taking because of the low standing of
the actors. While the best classes in
Japan patronize the theater the men in
the profession have heretofore been
rated so low socially that they were re-
garded as little better than outlaws
Prior to the Restoration there We're
only three licensed theaters in Toxic.
Only two men have ever risen high
enough in the profession to have the
honor of playing before the imperial
family.
These were Danjuro, the greatest
dramatic genius Japan has produced,
and his gifted pupil Kikugoro, both of
whom are dead. 1t is only recently
that women were allowed to appear on
the stage In this country, two daughters
of the great Danjuro being among the
first to enter the lists. 1t is hoped that
these young ladies have Inherited
enough of their distinguished fathers
genius to keep alive the luster or MS
fame. While Japan has no histrionic
stars at the present time who can
measure up to the standards OF Dan
iuro and Ilikugoro, there are some
promising aspirants in the new school,
particularly Kawakami and Sada
Yacco, who have played in Europe and
the United States.
To an American the Japanese theater
is a show in more ways than one. IN
stead of checking his overcoat or UNI
brella the patron leaves his shoes IN the
foyer. In one way he gets more Tor
his money than in the United states,
because the play begins about noon ana
lasts until 10 or II o'clock at night.
The interior of the playhouse is lined
with refreshment stands and restau-
rants. so that all kinds of food and
drink are served to the spectators IN
their seats The neighborhood abounds
In tea houses, and the easiest way 10
arrange a theater party is to give an
advance order to the proprietor OF one
of these places. Like the ticket specu-
lators in America, the tea house owners
control the choicest seats, which fact
enables them to handle large volume
of the business. They arrange all de-
tails even to having their attendants
enter the theater and wait upon their
patrons.
There are no chairs in the theater.
the spectators in the main portion or
the building squatting upon mats. The
gallery gods stand up and peer through
rows of vertical bars. AS the mob IN
the peanut heaven presses against tne
wooden Stats that divide it from the
more select portion of the audience IL
reminds one Of a lot of conVicts nerded
together in a big cell. The admission
to this pen amounts to about cents
an act. hardly enough it would seem TO
pay for keeping it clean
The stage is constructed in the fash
ion of a turntable, so that instead or
raising or lowering curtains, as IN our
| playhouses, the whole thing revolves.
| while one scene is toward the audience
another is being arranged in the rear.
The platform is on rollers, and as one
scene disappears with much shaking
and suueaking it's successor comes into
view. the actors meanwhile standing in
their places as rigid as statues.
The actors frequently make their en-
| frances and exits from the front of the
| building rather than from the wings
| To facilitate this arrangement there
are elevated Walkways extending to the
| foyer similar to those which our ma
| gicians sometimes use to get near
| their audiences. 1t is only recently
| that regular system of lighting the
playhouses came into vogue. Former
| ly a cowled "super" hoyered around the
| actor. holding q torch near his face, so
that the fine play of emotion in his
countenance would not be lost to the
spectators. This super had to know
his cues perfectly or take the danger
Gus risk of setting fire to the false
beard of the star. 1t is an unWritten
law of the Japanese stage that any as
sistant starting such a conf1agration
shall end his professional career on the
spot
Under the old regime Japanese actors
had several sources of revenue un-
known to their American fellow crafts
men. When the spectators became ex-
cited they threw their hats, belts,
pipes and even their coats on the
stage. They did not mean that the
performer was to keep these articles
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