<TD></TD></TABLE>
roininegait,his
flirtatioussideglancesandtheefake
sexappealhthechineseaudienceandisatthe
baendouspopularityinchinaanartist,this
appealisuniversal,foritspeaksthelanguageofgestures,eationalas
siodesenseoftheayappropriatelyleatheaba
shearerorruthghattertonoberidingon
horsebackorpaddlingaboat,hisactingisneitherbetteorworse
thanthatoffiveyearolddaughterboo
stickbethighs
ifas,hatthe
plot,assiestcharacter,thedialogue
uniortant,ances,
veryoftenpopularseletheoperas,ratherthantheentireplays,aregiven,
inthesannerthatoperaticselectionsarerenderedinusicalnceits
theaudienceknohestoriesbyheart,andthecharactersareregnizedbytheir
nventionalsksandstusratherthanbythententsofthedialoguethefirst
yiiandras,asinextantasters,nsisted,hafew
exceptions,offouractsthesongsineachactoadefinitesetoftunesina
usianyexisting
piestheyareleftout,hedialoguepartwaslargely
spokenexteore
inthesoas”thesongsineachacteperson,
althoughnyaitation
probablyduetothesas”the
litationsofdratictechniqueuchlessrigid;thereore
freedoandfrohesedrasing
dynastyberofactsrrespondinginlengthtothe
”sesuldbe
usedinsongsofthesaact,severalsingersuldsinginalteationorinunisonin
thesaact,andthetunestheelvesthoseusedinthenorthe
dras,beingofthetypeodulationsoversinglesyllables
ofsuchdras,theberhsihsiangandautuinthehanpalace
hankungperialncubineghaoghiin,
ybetakenasrepresentativeofthenorthedras,oonpavilion
paiyuehfingandtheronaybetakenas
representativeofthesouthedrastheber,althoughnsistingof
taticsequenceoffiveplays,hfour
actsineach
thereisonedifferencebeteoperahethe
operaistheprivilegeoftheclasses,veryoftenattendedforitssocialglitterandoutof
an”operaplex”ratherthanforrealsicalappreciation,sofarastheoccupants
ofthe”goldenhorseshoe95arenentalfoodof
thepoordeeperthananyotherliteraryart,theoperashavegonedoothehearts
ofthepeopleigineapeopleassesknointhestreetsandatall
oddnts,andyouhaveapictureoftherelationbethe
aniainchina,unknoi
or”operania,”andoneyoftenseeaniafthelohdishevelled
hairandcladintatters,singingtheairsofkungckengchiandactingthepartofthe
greatchukolianginthestreetsofoldpeking
foreignvisitorsatchinesetheatresareoftenstruckbytheexcruciatingnoise
enatingfrohegongsanddruinlitaryplaysandtheequallynerveracking
falsettooflesingers,this
st,onthestobe
unterevidencedbytheapparentfortericanstoleratesqueaks
frohesaxophoneandothersounddnessfrohejazzbandany
chinesegentlensnervesonenditispossiblyallaquestionofadaptationbutthe
originofthedruandgongsandthefalsettocanonlybeunderstoodinthelightof
chinesetheatresurroundings
thechinesetheatreofthebettertypeinayardliketheelizabethantheatre
instcases,hoporaryhigh
abovethegroundiatheopen,orsotisrightacrossathoroughfare,tobetaken
dodiatelyaftertheoccasionthetheatrehereforeintheopenandthe
actorshadtopetehthepeddlerscries,thebarberstuningforks,the
ltsugarsellerssllgongs,theshoutingofn,enandchildrenandthe
barkingofdogsabovesuchadin,onlyathinfalsettokeyedinahighpitchuld
havebeenheard,asanybodyyverifyforhielfthegongsanddruwerealso
usedasaansofattractingattention;theyalheplaysanduldbe
heardaleaovieswhen
stagedinadetheatrebuilding,thevoluofnoisethusproducedistrulyterrific,
butsohoselvestoit,asthearicanshave
adaptedtheelvestojazztheynoiseandtheylifetogeta”kick”outof
ittiedand
”civilized”odetheatrebuildings
fropurelyliterarypointofvieaticainatypeofpoetry
yfireliefthat,
lovelyasthetangpoetryis,asandtheodddraticsongs
hsiaotiao}tofindsoofovesre
orlessalongcertaintraditio
... </P></TD>
roininegait,his
flirtatioussideglancesandtheefake
sexappealhthechineseaudienceandisatthe
baendouspopularityinchinaanartist,this
appealisuniversal,foritspeaksthelanguageofgestures,eationalas
siodesenseoftheayappropriatelyleatheaba
shearerorruthghattertonoberidingon
horsebackorpaddlingaboat,hisactingisneitherbetteorworse
thanthatoffiveyearolddaughterboo
stickbethighs
ifas,hatthe
plot,assiestcharacter,thedialogue
uniortant,ances,
veryoftenpopularseletheoperas,ratherthantheentireplays,aregiven,
inthesannerthatoperaticselectionsarerenderedinusicalnceits
theaudienceknohestoriesbyheart,andthecharactersareregnizedbytheir
nventionalsksandstusratherthanbythententsofthedialoguethefirst
yiiandras,asinextantasters,nsisted,hafew
exceptions,offouractsthesongsineachactoadefinitesetoftunesina
usianyexisting
piestheyareleftout,hedialoguepartwaslargely
spokenexteore
inthesoas”thesongsineachacteperson,
althoughnyaitation
probablyduetothesas”the
litationsofdratictechniqueuchlessrigid;thereore
freedoandfrohesedrasing
dynastyberofactsrrespondinginlengthtothe
”sesuldbe
usedinsongsofthesaact,severalsingersuldsinginalteationorinunisonin
thesaact,andthetunestheelvesthoseusedinthenorthe
dras,beingofthetypeodulationsoversinglesyllables
ofsuchdras,theberhsihsiangandautuinthehanpalace
hankungperialncubineghaoghiin,
ybetakenasrepresentativeofthenorthedras,oonpavilion
paiyuehfingandtheronaybetakenas
representativeofthesouthedrastheber,althoughnsistingof
taticsequenceoffiveplays,hfour
actsineach
thereisonedifferencebeteoperahethe
operaistheprivilegeoftheclasses,veryoftenattendedforitssocialglitterandoutof
an”operaplex”ratherthanforrealsicalappreciation,sofarastheoccupants
ofthe”goldenhorseshoe95arenentalfoodof
thepoordeeperthananyotherliteraryart,theoperashavegonedoothehearts
ofthepeopleigineapeopleassesknointhestreetsandatall
oddnts,andyouhaveapictureoftherelationbethe
aniainchina,unknoi
or”operania,”andoneyoftenseeaniafthelohdishevelled
hairandcladintatters,singingtheairsofkungckengchiandactingthepartofthe
greatchukolianginthestreetsofoldpeking
foreignvisitorsatchinesetheatresareoftenstruckbytheexcruciatingnoise
enatingfrohegongsanddruinlitaryplaysandtheequallynerveracking
falsettooflesingers,this
st,onthestobe
unterevidencedbytheapparentfortericanstoleratesqueaks
frohesaxophoneandothersounddnessfrohejazzbandany
chinesegentlensnervesonenditispossiblyallaquestionofadaptationbutthe
originofthedruandgongsandthefalsettocanonlybeunderstoodinthelightof
chinesetheatresurroundings
thechinesetheatreofthebettertypeinayardliketheelizabethantheatre
instcases,hoporaryhigh
abovethegroundiatheopen,orsotisrightacrossathoroughfare,tobetaken
dodiatelyaftertheoccasionthetheatrehereforeintheopenandthe
actorshadtopetehthepeddlerscries,thebarberstuningforks,the
ltsugarsellerssllgongs,theshoutingofn,enandchildrenandthe
barkingofdogsabovesuchadin,onlyathinfalsettokeyedinahighpitchuld
havebeenheard,asanybodyyverifyforhielfthegongsanddruwerealso
usedasaansofattractingattention;theyalheplaysanduldbe
heardaleaovieswhen
stagedinadetheatrebuilding,thevoluofnoisethusproducedistrulyterrific,
butsohoselvestoit,asthearicanshave
adaptedtheelvestojazztheynoiseandtheylifetogeta”kick”outof
ittiedand
”civilized”odetheatrebuildings
fropurelyliterarypointofvieaticainatypeofpoetry
yfireliefthat,
lovelyasthetangpoetryis,asandtheodddraticsongs
hsiaotiao}tofindsoofovesre
orlessalongcertaintraditio
... </P></TD>