Page:Japanese plays and playfellows (1901).djvu/93

 which bears some resemblance to the Théâtre Libre or the Théâtre de l'Œuvre. The sōshi were students, desirous of reforming and modernising the conservative traditions of their stage, and Mr. Kawakami's contributions to the movement consisted of two plays: a realistic piece, founded on the war with China, which brought him great profit and renown, and an adaptation of "Round the World in Eighty Days." As an actor he is certainly free from the painful mannerisms of the older generation: his elocution is more even, his action more quiet and sudden, his facial expression less exaggerated. As for Sada Yacco, who braved the public opinion of her countrywomen by being the first of her sex to act in company with masculine comrades, her presence would be an acquisition to any stage. Until three years ago she was a geisha, and thus combines with much physical attraction of voice and face the secret of supremely graceful movement. Her dances were revelations of the witchery of Salome's art. Her histrionic powers are not less remarkable.

The pieces selected for representation were of course wholly Japanese in subject and sentiment, but, being greatly modified to suit the supposed infirmities of foreign playgoers, they scarcely gave a correct impression of the average Japanese play. To begin with, that the sound of a strange language might not grow wearisome, the dialogue was ruthlessly cut and curtailed; next, as much dancing as possible was introduced, so that the damari, or pantomimic scene, which in Tōkyō is more or less of the nature of "comic relief," sandwiched between exciting incidents, almost became the staple of the play. Finally, the coincidental music, which strikes so oddly on European ears, was kept within wise limits. But, so far from