All of them, however, have not changed to the same degree, or even followed the same line. In Shanghai are three distinct classes, oF the The of the hai those elsewhere divided. There was the department managing the age and the entertainment, and anoth looking after the business, JO theatrical undertaking was usual-embarked upon. by several men in the profession who handled it as a joint enterprise. First they secured a suitable house. Then standard groups, of play houses. One of these is devoted to maintaining the traditions of the old theatre, thing which, in general, it does very well, according to" experienced Chinese playgoers. These present the so-called Peking plays (UR) which use historical themes, and place the chief emphasis on singing. Another group takes up more modern stories, selecting plots which deal with the present day. Singing is included by these, but they also emphasize droll situation and repartee. Another type scarcely has s counterpart on the foreign stage. In it stories from the old Peking plays are acted, but magic effects, like skeletons appear ing as apparitions, and victims escaping from chests, are partly depended upon for the high class effect. In these, as in all the others, the old style of falsetto singing is heard.
Among the most popular of the old style, or as they wte called, the Peking Play houses in Shanghai are the Tan Kuei Ti I Tai, 431 Foochow Road; Kung Wu Tai, 29 Rue Tourane; Tah Wu Tai, "178 Hankow Road; Keng Hsin Wu Tisi, Chapei; I Wu Tai, Yunnan Road; Actress. Theatre," inside "Great SHANGHAI PROFESSIONAL IN A PART WHERE HE, AS A HERO, 'CATCH A ROBBER AFTER POLICE AND SOLDIERS HAD FAILED.
World," 227 Avenue Edward VI; Tah King Pan, inside "Petite World," Foh Vu Lu, City; Tu Chi Ch'ang, inside "New World," corner of Tibet and Bubbling Well Roads; Feng I Pan, Wing On Company Roof Garden; Actress Theatre, Sincere Roof Garden, and Hsiang: Hsiang Wa Tai, Tien Pao Lu, Chapei Among the best known houses staging modern type plays are the Tao She, in the "Great World," 227 Avenue Edward VII: the Actress Theatfe: in the "Petite was decided on, that isto say, it, was agreed ax to about what grade of show would be undertaken, a decision which determined approximate. ly what number of actors was re quired. This number of persons to join in the produc.
Nearly all plots conta' fighting, and characters for his Jcomprised the big item.
After the stage management had secured its personnel, an election }was held and the most wealthy, the best Sendwn, or the most' influential Jamong them was selected as manaer of the stage. This manage> was usually one of the group of original organizers, but not always leo, Very little rehearsing was Ineeded until announcement of the first performance was made und of the play presented. The length of time it remained on, like modern, plays, depended on the support of jthe public. In other words, on hhow it took. Some of them closed at the end of a week or s0,, while others ran indefinitely.
Text read from the printed page and cleaned; old type leaves the occasional error.