The times dispatch. [volume] (Richmond, Va.) 1903-1914, 1908-04-17
The Theatre in Japan
nY FREDERIC j. nAsl<1N.

While the Japanese stage has not
responded to the influence or modern
civilization rs promptly as the newspn-
pers and the schools, Il leaning toward
Western dramatic ideals is beginning Il,
show Itself Tokyo audiences have %uot
over the wors OF Camille" ana Uncle
Toms Cabin" has made It's appeal to
oriental sympathy. An elaborate pro-
duction OF the Merchant OF Venice"
with Europcan costumes, has been
given III the Japnncrc tongue at one
OF the theatres in Yokohama. ",rhe
0ld homestead AZ played at Tokyo
rark' ny would VOW, doubtless give Mr.. Den
venerable actor could see the Eastern
version of his great play.
The introduction of modern idens
has divided the Japanese stage into
the old classical style Of play and
manner OF production; the other strik-
ing out independently for the ndop-
ton or up-to.dnte methods. The task
OF elcvating the stage in the East IS
no small undertaking, because of the
low standing of the actors. Willie the
best classes In Japan patronize the
thentre. the mon in tie profession
nave heretofore been rated so low
socially that they were regarded as
the Restoration there were only three
licensed theatres in Tokyo. Only two
men have ever risen high enough in
me 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. it is only recently
that women were allowed to appear OH
the stage In this country, two daugh-
ters of the great Danjuro being among
the first 20 enter the lists. 1t is hop
ed that these young ladies have inherit
ted, enough. Of their distinguished
fathers genius TO keep alive the lus-
histrionic stars at the present time
who can measure. up to the stand
ards of Danjuro and Kikugoro, there
are some promising aspirants in the
new school, particularly Kawakami
Europe and the United states.
10 the American the Japanese thea
ire is show in more ways than one.
Instead of checking his overcoat or
umbrella, the patron leaves his shoes
IN the foyer In one way he gets more
for his money than in the United
noon and lasts until 10 or IL o'clock
at night. Tie interior of the play
house in linad with refreshment
stands and restaurants, so that all
kinds of food and drink arc scrved to
the spectators In their seats. The
neighborhood abounds In tea houses.
and the easiest way TO arrange q
theatre party is to give an advance
order to the proprietor Of one OF these
places. Like the ticket spectators in
America, the tea house owners control
the choicest seats, which fact enables
them to handle large volume OF
business. They arrange all details,
even to having their attendants enter
the theatre and walt upon their pat
rons.
There are no chairs in the theatre.
the spectators in the main portion of
the building squaitlng upon mats
The gallery gods stand UP and peer
through rows of vertical bars. AS
es against the wooden Stats that III
vide from the more select portion Of
the audience. it reminds one of lot
of convicts hcrdcd together in a big
cell. The admission TO this pen
amounts to about two cents an act
hardly enough. 1t would seem, to pay
for keeping it clean.
The stage is constructed in the fash
ion Of turn table, so that instead
OF raising or lowering curtains. as In
our playhouses, the whole thing .e-
wolves. While one scene is towards
the audience: another Is being ar
ranged in the rear The platform
is on rollers. and as one scene dis
! appears with much shaking and
l'squeaking, its successor comes into
view, tho actors. meanwhile. standing
in their places as rigid as statues.
The actors frequently make their
entrances and exits from the front
of the building. rather than from the
wings. TO facilitate this arrangement
there arc elevated waIkways extend
ing 10 the foyer, similar to those
which our magicians sometimes use
to get near their audiences. IT is
only recently that a regular system of
| lighting the playhouses came into
vogue. Formerly a cowled super
| lowered around the actor holding a
| torch near his face. so that the fine
| play of emotion in his countenance
would not be lost to the spectators.
1 This super had to know his cues
| perfectly, or take the dangerous risk
of setting fire to the false beard of
| the star. 1t is an unwritten law OF
the japanese stage that any assistant
! starting such conflagration Shall end
lshis professional career on the spot.
Under the old regime. Japanese act
! ors had several sources of revenue
| unknown to their American fellow
| craftsmen. When the spectators be-
| came excited they threw their hats,
| belts, pipes and even their coats on
| the stage. This did not mean that
| the performer was to keep these ar
I ticles as souvenirs. They were a
| pledge Of appreciation Of a far more
| substantial character The valet Of
| the celebrity soon appeared and re-
| turned. each article to It's owner. col
llecting in lieu thereof a cash sum for
| the benefit Of the actor. For exam
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