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

    ...