The Ely miner. [volume] (Ely, Minn.) 1895-1986, 1908-04-10

WILD
spurns her, and the curtain is drawn,
to the solemn banging Of drum, and
the high pitched mournful song of
some one in the distance.
Danjiro owns the finest curtain in
Japan, presented to him by the Geisha
of Toxic, who each gave hundred
yen. 1t is of silk, embroidered as only
Japanese know how. and to see, well
worth the price of admission.
The entire lower floor of the theater
is divided into little boxes, about four
feet square, by partitions not more
than four or five inches high. About
five yen are paid for these boxes, and
they hold four people, who kneel on
mating rugs.
The best seats are the boxes along
the sides of the Balcony, which also
hold four people, and cost six yen.
AS yen is worth so cents of Amer
lean money, it may be seen that the
prices of Japanese theaters, by COM
parison with those of Europe or Amer
lea, are very reasonable.
At this juncture our ears are as
sailed by the most heart-rending
sounds that chill the blood in our
veins. 1t is the European orchestra!
The smiling guide tells us: Euro
pean orchestra very nice-Japanese
people like very much!"
who's meddled NIT my drom-
bone?" roars musician.
"Oi did," said Paddy. Here we've
been for two hours tryin' to pull it
apart, an Oh did it in wan minut!"
A sharp noise, made by striking two
pieces of hard wood together an
nounces that the next act is about
to begin. The intervals between acts
are usually about ten minutes.
AS the curtain is drawn aside, the
pieces of wood tap together faster
and faster, until the stage is dis
closed.
This time it is house, the front
open, chrysanthemums growing about
the door. At intervals the shrill note
of an insect is heard.
Sata, the great actor, is seated on
the floor; he is in state of intoxica-
ton, and keeps drinking from a bot.
tie in front of him.
His father-in-law is pleading with
him to grant divorce to his daugh-
ter, as his constant intoxication and
ill-treatment of her are hard to bear.
The drunkard refuses, and the scene
between the men is a powerful one,
knowledge of the language being I'm.
necessary in order to appreciate their
really great acting.
The revolving stage, used in all
Japanese theaters, is seen in this act,
as the entire stage turns, bringing into
view different scene, the old mans
house.
The play proceeds through several
acts, to a European or American, in
rather a disjointed manner, and with
out much sequence, but with no lack
OF fine acting.
Just before the last act, the ushers
bring in the sandals and clogs that
have been checked, so there will be no
confusion and delay when the theater
is out.
But three days are allowed for re-
hearsal, and in that time they must
be letter perfect, for Japanese audi
ence is critical one.
Appreciation is announced by clap
ing the hands, but audible comments
are frequent.
When we go out, our rickshaw-
men, wrapped in their rugs, hurry
from the gallery where they have
been enjoying the play. The orches-
ira and the electric lights are not
the only innovations in this theater.
The idea of a play of modern Japan.
csc life is entirely new, and we were
fortunate in seeing the first perform,
ance of one of the few modern plays
ever enacted in japan.