A Japanese Theatre

New Zealand Tablet, Volume XXXIII, Issue 16, 20 April 1905, Page 20

A Japanese Theatre

A Janpanese theatre is a very curious afilair both inside and outside. Blood-curdling posters in flaming colors usiually adorn the entiance, and scores of gaudy little Ghiiiese lanterns are hung about to male it look attractive. The Japanese, however, do not need mutch enticing. They are a nation of merrymakers, and the thdatre is one of tfae chief sources of their amusement. Japanese drama is rather a lengthy affair. A rlay usually starts about ten in the morning and goes on until midnight, with intervals, of course, between acts. Theatre-goers make up parties to attend the play, and prepare luncheon baskets as though they were going out for a fpiicnic. Thus they are able to have their meals with the same regularity as they can at home. Tthe theatre is not very luxuriantly furnished. 'The ' pit, the flavorite part pf the house, is merely a collection of bare wooden seats. The boxes are desolate little places futnished with stools. The ventilation is usually very bad, and, as smoking is allowed, the theatre positively reeks with tobacco fumes by the time the play is in full swing. Two curious customs prevail in Japanese theatres. The female portion of the a/udience invariably sits apart from the men, and for the payment of a small sum yqju are permitted to stand and watch the performance regardless of the annoyance of those seated behind. The stage Has Some Peculiarities, Too. At both ends a platform projects out into the auditorium, and whenever a person is represented as "Starring' on or returning from a journey the actor always makes Use of this projection. The stage is fixed aoi rollers, so that when a change of scene is necosfcfary the whole, actors included, can be turned bodily round. Women do not act on the stage ; any female part that , occurs is played "by a man,, specially trained for that purpose. When actors are delivering their Speeches attendants lighten up their laces by means of candles* fastened .upon long i bamtoo sticks. When ,tue"play commences the audience is called to attention by the rapping of a little mallet. Besides

the actors proper there are other persons concealed above the stage, who sing the chorus, accompanied by the samisen. The noise these people make is enough to deafen the foreigner, but tjhe Jap seems to find immense pleasure in the din and discord. As the actors warm to their work t)he noise increases, and the house ha.s all the appearance of a pandemonium. The players leap ami bound about t|he stage, and give such ear-pierc-ing yells as would make a Red Indians heart turn green with envy. This continues Until tihe first act is over. However much the spectators may have approved or disapproved of the acting they remain quite passive, as it is not the custom in Japanese theatres to shout or clap the hands. During the Interval luncheon baskets are brought out, and the people regale themsdl\er, upon such delicacies as eggs, fruit, and ricecasVes. The afternoon section of the performance passes away in ius't such a hubbub as did that of the morning. Anotner interval— this time for tea— and servants from neighboring tea-houses appear and bring round tea, rice, eggs, and sweatmeats for the consumption of the hungry audience. When the curtain goes up on the last instalment of the play the spectators are again all attention, and cairely take their eyes off the actors or do anything else, siave puff away at their eternal pipes. Abo• it midnight all is over, and the audience pours o'it into tihe street delighted with its day's pleasure, albeit the next morning may find it with a splitting headache as the inevitable penalty. The plays toliat find most favor anrona; Japanese theatre-goers are such as contain much melodramatic incident. Historical [lays dealing with tg>e ancient days of the Japanese empire are also very popular, and draw big audiences to the play-houses.