第85节
【】roi,his
flirtatioussideglandtheefake
sexappealhtheeseaudiendisatthe
baendouspopularityina.anartist,this
appealisuniversal,foritspeaksthelanguageofgestures,eationalas
siodeseheayappropriatelyleatheaba
shearerhatterton.oberidingon
horsebackorpaddlingaboat,hisagisherbetteorworse
thanthatoffiveyearolddaughterboo
stickbethighs.
ifas,hatthe
plot,assiestter,thedialogue
uniortant,ances,
veryoftenpopularseletheoperas,ratherthaireplays,aregiven,
inthesahatoperaticselesarerenderedinusiceits.
theaudienohestoriesbyheart,andthetersareregheir
ionalsksandstusratherthanbythesofthedialogue.thefirst
yiiandras,asiantasters,nsisted,hafew
exceptions,offouracts.thesongsineatoadefioftunesina
usiaing
piestheyareleftout,hedialoguepartwaslargely
spokeeore.
inthesoas”thesongsineateperson,
althoughnyaitation
probablyduetothesas”the
litationsofdratihlessrigid;thereore
freedoandfrohesedrasing
dynastyberofactsrrespondingihtothe
”sesuldbe
usedinsongsofthesaact,severalsingersuldsingiionorinunisonin
thesaadthetuheelvesthoseusedihe
dras,beingofthetypeodulationslesyllables.
ofsuchdras,theberhsihsiangandautuinthehanpalace
hankungperialneghaoghiin,
ybetakenasrepresentativeofthenorthedras,oonpavilion
paiyuehfingandtheroakenas
representativeofthesouthedras.theber,althoughnsistingof
tatieoffiveplays,hfour
aeach.
thereisonediffereeopera.hethe
operaistheprivilegeoftheclasses,veryoftenattendedforitssocialglitterandoutof
an”operaplex”ratherthanforrealsiiation,sofarastheocts
ofthe”goldenhorseshoe95arealfoodof
thepoor.deeperthananyotherliteraryart,theoperashavegohehearts
ofthepeople.igineapeopleassesknoireetsandatall
oddnts,andyouhaveapictureoftherelatiohe
aniaina,unknoi
or”operania,”aenseeaniafthelohdishevelled
hairandcladintatters,singingtheairsofkunggdagthepartofthe
greatchukoliangireetsofoldpeking.
fnvisitorsatesetheatresareoftenstruruciatingnoise
enatingfrohegongsanddruinlitaryplaysandtheequallynerverag
falsettooflesingers,.this
st,oobe
unterevideheapparentforteristoleratesqueaks
frohesaxophoneandothersounddnessfrohejazzbandany
esegentlensnervesonend.itispossiblyallaquestionofadaptation.butthe
inofthedruandgongsandthefalsettolybeuoodinthelightof
esetheatresurroundings.
theesetheatreofthebettertypeinayardliketheelizabethare.
instcases,hoph
abovethegroundiatheopen,orshtacrossathhfare,tobetaken
dodiatelyaftertheoasioheatrehereforeintheopenandthe
actorshadtopetehthepeddlerscries,thebarberstuningforks,the
ltsugarsellerssllgongs,theshoutingofn,enandchildrenandthe
barkingofdogs.abovesuchadin,onlyathinfalsettokeyedinahighpitchuld
havebeenheard,asanybodyyverifyforhielf.thegongsanddruwerealso
usedasaansofattragattention;theyalheplaysanduldbe
heardaleaovies.when
stagediheatrebuilding,thevoluofhusproducedistrulyterrific,
butsohoselvestoit,asthearishave
adaptedtheelvestojazz.theyheylifetogeta”kick”outof
it.tiedand
”civilized”odetheatrebuildings.
fropurelyliterarypointofvieatiatypeofpoetry
yfireliefthat,
lovelyasthetaryis,asandtheodddratigs
hsiaotiao}tofindsoofovesre
orlessaloaintraditio
...
flirtatioussideglandtheefake
sexappealhtheeseaudiendisatthe
baendouspopularityina.anartist,this
appealisuniversal,foritspeaksthelanguageofgestures,eationalas
siodeseheayappropriatelyleatheaba
shearerhatterton.oberidingon
horsebackorpaddlingaboat,hisagisherbetteorworse
thanthatoffiveyearolddaughterboo
stickbethighs.
ifas,hatthe
plot,assiestter,thedialogue
uniortant,ances,
veryoftenpopularseletheoperas,ratherthaireplays,aregiven,
inthesahatoperaticselesarerenderedinusiceits.
theaudienohestoriesbyheart,andthetersareregheir
ionalsksandstusratherthanbythesofthedialogue.thefirst
yiiandras,asiantasters,nsisted,hafew
exceptions,offouracts.thesongsineatoadefioftunesina
usiaing
piestheyareleftout,hedialoguepartwaslargely
spokeeore.
inthesoas”thesongsineateperson,
althoughnyaitation
probablyduetothesas”the
litationsofdratihlessrigid;thereore
freedoandfrohesedrasing
dynastyberofactsrrespondingihtothe
”sesuldbe
usedinsongsofthesaact,severalsingersuldsingiionorinunisonin
thesaadthetuheelvesthoseusedihe
dras,beingofthetypeodulationslesyllables.
ofsuchdras,theberhsihsiangandautuinthehanpalace
hankungperialneghaoghiin,
ybetakenasrepresentativeofthenorthedras,oonpavilion
paiyuehfingandtheroakenas
representativeofthesouthedras.theber,althoughnsistingof
tatieoffiveplays,hfour
aeach.
thereisonediffereeopera.hethe
operaistheprivilegeoftheclasses,veryoftenattendedforitssocialglitterandoutof
an”operaplex”ratherthanforrealsiiation,sofarastheocts
ofthe”goldenhorseshoe95arealfoodof
thepoor.deeperthananyotherliteraryart,theoperashavegohehearts
ofthepeople.igineapeopleassesknoireetsandatall
oddnts,andyouhaveapictureoftherelatiohe
aniaina,unknoi
or”operania,”aenseeaniafthelohdishevelled
hairandcladintatters,singingtheairsofkunggdagthepartofthe
greatchukoliangireetsofoldpeking.
fnvisitorsatesetheatresareoftenstruruciatingnoise
enatingfrohegongsanddruinlitaryplaysandtheequallynerverag
falsettooflesingers,.this
st,oobe
unterevideheapparentforteristoleratesqueaks
frohesaxophoneandothersounddnessfrohejazzbandany
esegentlensnervesonend.itispossiblyallaquestionofadaptation.butthe
inofthedruandgongsandthefalsettolybeuoodinthelightof
esetheatresurroundings.
theesetheatreofthebettertypeinayardliketheelizabethare.
instcases,hoph
abovethegroundiatheopen,orshtacrossathhfare,tobetaken
dodiatelyaftertheoasioheatrehereforeintheopenandthe
actorshadtopetehthepeddlerscries,thebarberstuningforks,the
ltsugarsellerssllgongs,theshoutingofn,enandchildrenandthe
barkingofdogs.abovesuchadin,onlyathinfalsettokeyedinahighpitchuld
havebeenheard,asanybodyyverifyforhielf.thegongsanddruwerealso
usedasaansofattragattention;theyalheplaysanduldbe
heardaleaovies.when
stagediheatrebuilding,thevoluofhusproducedistrulyterrific,
butsohoselvestoit,asthearishave
adaptedtheelvestojazz.theyheylifetogeta”kick”outof
it.tiedand
”civilized”odetheatrebuildings.
fropurelyliterarypointofvieatiatypeofpoetry
yfireliefthat,
lovelyasthetaryis,asandtheodddratigs
hsiaotiao}tofindsoofovesre
orlessaloaintraditio
...