Mrs, Tsemon Hsu is unique and {interesting in her advanced ideas on the subject of how the spoken language of China should be used for the drama. She shows great. distaste for the stilted phrases of the classic. She explains that one of the spoken dialects of the north, the every-day Manchu tongue, is unsurpassed for beauty of sound and poetical delivery. The round fall-throated beauty "of the speech Itself, combined with its flexibility and adequacy through its continual use every-day make it beyond others suitable for the new cult of the theatre which Mrs. Hsu That there are groups of these "young intellects Shanghai, achar with Mrz Sino May Lu) may. be anid to stand for a new cult the Chinese theatre, She herself 48 not a professional actress, although her appearances in several amateur productions in Chinese cir les have proved her to be an accomplished and charming one.
Bduented along Western lines, Mrs. Hsu finds Western drama suitable as a medium of ex-sion for the group of younger hinese whose familiarity with the and manners of the West has made definite changes in their points of view. Mrs. Hau is a native of Shanghai, and haa lived many years in Peking" wh early education was receive Convent clu Sucré Caour. the present moment, Mrs. Hsu bringing her beliefs' down to alities. She is translating a num-Der of modern plays into, this dialect, and "Tata Morgana," intensely modern play popular in New York several years ago, is among these. In making her translations, Mrs, Hsu is influenced by the poetical ideal of drama, Be the underlying motives and morals of a play ever so realistic and modern, Mrs, Hsu still feels that there is al-ays the possibility for poetral pre-mutation, largely through the distinguished and dignified tongue which she wishes to hear eventually {in common usage on the Chinese stage. Actresses and actors require training to master this speech unless they are born to it, she decares, but therein lies the seed of the "Little Theatre" movement. married, also, to her poet-husband, in Poking about two years ago, Changed Emotions declares that it has bosom fashionable to enjoy modern and classic Western drama, ud pss have been mi ranging in period from int of Venice, Brutus" and "Lady Windemere's Fan" for production in Chin theatres. These make splendid chicles for those artistic young. Chinese who enjoy expressing their Personalities through a "Little Theatre" movement, and it must not be thought that it is merely a question of being in the fashion. The younger western-educated Chinese, Mrs, Hsu declass than They have be-sense that changed. hey Yeel with the emotions of the West. Conclusive proof of this is to be found in the changing speech of every-day. The very language has responded to now demands placed upon it through new feelings, Mrs, Hsu points out. New words are constantly being introduced into he various dialects of China in order to facilitate the expression of now emotions and ideas, and old
Text read from the printed page and cleaned; old type leaves the occasional error.