The Pacific commercial advertiser. [volume] (Honolulu, Hawaiian Islands) 1885-1921, 1908-05-04
THEATERS AND
DRAMA DE- JAPAN
Actors Gradually Securing q
Recognition in the Class
of Artists.
advertiser Correspondence, Copyright
by Frederic J. Haskin)

. advertiser Correspondence, Copyrigh
by Frederic ]. Haskin.)
TOXIC, April 2O.-while the Japa
nese stage has not responded to tn
influence of modern civilization a
promptly as the newspapers and tn
schools. a leaning toward ,Wester
dramatic ideals is beginning to shov
| itself. Toxic audiences have wep
over the woes of Camille an,
| Uncle Toms Cabin" has made its ap
peal to Oriental sympathy. An elab
crate production of The Merchant o
| Venice" with European costumes, ha
| been given in the Japanese tongue a
| one of the theaters in Yokohama
THE Old Homestead as played at E
Toxic park, would doubtless give Mr.
Denman Thompson a great shock il
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 I'M
dertaking 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 regarded as little better than
outlaws. Prior to the Restoration
there were only three licensed theaters
in Toxic. Only two men have ever
risen high enough in thn 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 daugh-
tiers of the great Danjuro being among
the first to enter the lists. 1t is hoped
that these young ladies have inner
tied enough of their distinguished ia
theirs genius to keep alive the luster
of his fame. While Japan has no his
trionic stars at the present time who
can measure up to the standards of
Danjuro and Kikugoro, 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 the
alter is a show in more ways than one.
Instead of checking his overcoat or
the patron leaves his shoes
in the foyer. In one way he gets
more for his money than in the United
States, because the play begins about
noon and lasts until ten or eleven
O'Clock at night. The interior of the
playhouse is lined with refreshment
stands and restaurants so that all
kinds of food and drink are served to
the spectators in their seats. The
abounds in tea houses, |
and the easiest way to arrange the |
ater party is to give an advance order
to the proprietor of one of these places.
Like the ticket spectators in Amer |
lea. the tea house owners control the
SCdlS, WIAiIIl LclIL EAih''iCS NiiOAAA
to handle large volume of, the bus
mess. They arrange all details, 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 of
he 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 the wooden Stats that divide
t from the more select portion of the
audience, fit reminds one of lot of
,onvicts herded together in big cell.
rhe admission to this pen amounts to
about two cents an act, hardly enough
t would seem to pay for keeping 1T
lean.
The stage is constructed in the
ashton of a turn-table, so that instead
f raising or lowering curtains. as in 1
ur playhouses, the whole thing re-
olives. While one scene is toward the
another is being arranged in
he rear. The platform is on rollers,
nd as one scene disappears with much
baking and squeaking, its successor
ONES into view. the actors meanwhile
landing in their places as rigid as
tatues.
The actors frequently make their en-
RANGES and exits from the front of the
uilding, rather than from the wings.
% facilitate this arrangement there !
re elevated walkways extending to
he foyer, similar to those which our
lagicians sometimes use to get near
heir audiences. 1t is only recently
hat a regular system of lighting the
Lighthouses came into vogue. Former
' a cowled super" lowered around the
ctor holding torch near his face, so
hat the fine play of emotion in his
ountenance would not be lost. to the
pectators. This super had to know
is cues perfectly, or take the danger I
us risk of setting fire to the false {
card of the star. 1t is an unwritten I
NV of the Japanese stage that any [
ssistant starting such a confiagration {
hall end his professional career on {
he spot. |
Under the old regime japanese actors Z
ad several sources Of revenue I'M |
nown to their American fellow crafts I
zen. When the spectators became ex- {
ted they threw their hats, belts, pires, {
nd even their coats on the stage. This c