The Drama

THE DRAMA. BY SANDFORD W. HEDGES, MISSIONARY TO JAPAN.

In a conversation with some French people whom I met at Nagano last fall, the drama was mentioned. They had been acquainted with the difficulties with which my companion and I were constantly meeting, in regard to learning this Japanese language and ;

offered a suggestion that we attend the theatres of the land, that by so doing our progress in learning the language would be much faster. True, the drama, to students of character, is a good indicator of the real aspirations and customs of the people, even more so than any other institution. We are told that the drama "holds the mirror up to nature," and no matter what kind of a glass it may be —whether it is old and tarnished — always it offers a recognizable reflection. To thoroughly appreciate the drama, a person must try to place himself in harmony with the people, and this we foreigners find it most difficult to do. 'Go ni itte wa go ni shitagai,' or, "When in Rome, do as Rome does," can be applied with equal

force to the drama as to any other phase of meaning. The plays are representatives of very old and mythical history, and are extremely serious, and to this fact, to foreigners many times they appear very slow and tiresome. Interwoven throughout the theme of the play is the trace of ancestral worship, and to part from the old form is considered by many a form of sacrilege; for, be it understood, the plays are very religious. Mr. Chamberlain, the author of Things Japanese, has told us that the drama can "be traced back to religious dances of immemorial antiquity, accompanied by rude choric songs." However

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interesting the drama may be, if a person desires to learn the Japanese language, it is a poor place for him to go to get pointers, as the play's phraseology is vastly different from the colloquial, and even understood by many of the people who profess acquaintis not

ance with the fantastic mythology upon which the piece was written. On account of the people's inaptitude to fully comprehend the old drama, a great need was felt for a more popular class of entertainment, which came some time ago, introducing contemporary, every- day life. These plays are well attended, but are stamped vulgar by a number of people whose innermost souls yearn for bygone historica events. However, it is said that this latter class" of plays formed the first step towards the modernizing of the Japanese drama. At first, all the plays were entirely Japanese, no attempt being made to introduce foreign life. Accepting the invitation of a friend, one evening I attended a theatre. To tell you all I saw and heard would be burdening you with too much matter, but I wish to write just a word or two about the things which appealed most to my eye, and least to my ear, for I must admit I did not understand much. Allow me to ask the reader one question. What do you look for, after getting in your seat? I fancy I hear many and various answers, but I feel

safe in stating that nearly all look for the beauty of the woodwork and the general effect of the whole decorations. All of the theatres I ever attended before visiting the one in Japan, were fixed up to please the eye as well as to be in perfect harmony with the play; and when I first entered a Japanese playhouse I felt rather at sea, so to speak, as there were no chairs, nor anything in the line of decorations which appealed to the eye. Indeed, the Japanese theatre is conspicuous by the absence of the things which adorn the ones in America. Ushers are in no demand, as the entire pit is covered with straw mats, upon which the audience is to sit. So far, it seems as if no redeeming feature of a Japanese theatre had been made, but it has one, which is indeed a point in its favor. The price of admission is very low.The one I attended cost each person eight sen (four cents), and two sen (one cent) was for a cushion, as the floor becomes very hard before a six hours' play is over. There are other

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seats, which command a better view of the stage, and they cost ten sen (five cents), so are not well patronized. Once begun, the show presents a variety of actors, but not much scenery, and the whole is accompanied by an orchestra composed of the loudest instruments buyable in Japan. When the orchestra may produce very peculiar effects upon the ear not is in swing, it

accustomed to great discords, but when we consider it answers the purpose, and does not affect the people, we can do nothing but acquiesce in it. The orchestra plays a very important part in the Japanese play, as considerable of the speaking is done to the accompaniment, the actor merely acting the role while another is speaking for him. Merely calling attention to the curtain, which is pulled across the stage, and is painted in such loud colors that it speaks for itself and needs no explanation, I desire to v/rite a word or two about the scenes. In the center of the stage, working on a sort of pivot, turns a large four-sided box, which has a different scene painted on each side. The box is made large enough to fill the center of the stage. For instance, a certain part of the play requires an out-door scene, while the next scene must be an in-door one. In such a case, a signal is given, and without lowering the curtain, round goes the box and the scene is brought to face the audience. In this way, while one part is being acted, the next scene is being prepared behind the scenes. A foreigner cannot judge the actors in a Japanese play, even though their skill has been admitted, as there is no point from which he can deduct his judgment. However, now that the plays are becoming more westernized, foreigners have a better opportunity of forming their ideas in regard to the actors, as comparisons can be drawn from the same base. The rapid adoption of western ideas into the Japanese theatre is but one more example of the desire of Japan to become like the civilized nations, and to give amusement to all classes.