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 it. The actresses move about from one side of the stage to the other, twisting their heads, arms, and legs about in a slow and curious fashion, which is their way of dancing. They do not speak. The story is told by a chorus of people, who screech out the tale, to the accompaniment of the weirdest of bands. It sounds like a mixture of drums, brass trays, and bagpipes.

As a fixed theatre is not necessary, the plays can be acted anywhere. A space for the stage is marked out on the ground with mats. Round the mats sit the band and the chorus. The spectators sit or stand quite near the players, and sometimes an odd baby gets loose, and wanders about amongst the feet of the angels and demons, who are strutting quaintly in the mat-encircled area. When the man who beats the drums or bangs the brass trays has had enough, some little boy in the audience will come and take his place, and so allow the weary musician a little rest.

There is of course, no scenery, and the audience has to draw very largely on its imagination as the performance proceeds. Suppose that a Siamese company were going to play "Robinson Crusoe." This is the kind of thing that would happen. One actress would come on the stage with a pole fastened to her chest. From the top of a pole a little flag would fly. The rest of the troupe would stand, two by two, behind the maiden with the pole. Last of all would come another actress, bearing another pole and flag, and with a rudder tied to her back. The long string of people gathered together in this way would represent a ship and its passengers. The voyage would now begin by SI.