The Hawaiian gazette., 1908-05-08
THEATERs AND.
DRAMA Of JAPAN
advertiser Correspondence. Copyright
by Frederic ]. Haskin.)

by Frederic ]. Haskin.)
TOXIC, April 20-whie the Japa-
nese stage has not responded to the
influence of modern civilization as
promptly as the newspapers and the
schools, a leaning toward Western
dramatic 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 1.-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..
Denman 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 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 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 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
Tiers 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
umbrella, 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
neighborhood abounds in tea houses,
and the easiest way to arrange the
alter 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
choicest seats, which fact enables them
to handle a 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
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 the wooden Stats that divide
it from the more select portion of the
audience, it reminds one of a lot of
convicts herded together in big cell.
The admission to this pen amounts to
about two cents an act, hardly enough
If would seem to pay for keeping it
clean.
The stage is constructed in the
fashion of a turn-table, so that instead
of raising or lowering curtains, as in
our playhouses, the whole thing re-
wolves. 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 squeaking, its 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
magicians sometimes use to get near
their audiences. 1t is only recently
that a regular system of lighting the
came into vogue. Former
" a cowled super lowered around the
actor holding a torch near his face, so
that the fine play of emotion in his
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
assistant 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, pines,
and even their coats on the stage. This
did not mean that the performer was
to keep these articles as souvenirs.
They were a pledge of appreciation of
a far more substantial character. The
valet of the celebrity soon appeared
and returned each article to its owner,
in lieu thereof a. cash sum
for the benefit of the actor. For ex-
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