In describing the nature of Chinese theatrical technique, Dr. Chang said that it is not so-called realism, which may merely be a photographie imitation of actuality. The Chinese theatre avoids actuality and is nol symbolic. Tt really consisted of beautiful patterns Which Were woven into a composite whole. For the execution of good. patterns, two things were absolutely necessary; they must be soundly sot and aedthetically satisfying. By the former, Dr. Chang explained, the patterns of movement must be logic eal_and rational, while the latter essential must possess beauty. rhythm and symmetry. Patternism applied of only to acting but to music and clothes "as well. "For instance, in a play called "The Fisherman's Daughter," the patiernism was carried out In her dress which, though made of silk, hud patches on it, which was a good example of a pattern being soundly set and aesthetically satisfy ing.
Referring to the common idea that: the whip was symbolic of a horse, Dr. Chang said that this was not the case. Actually Chinese do not imagine a horse when they see a whi To. them it indicates that the man holding the whip is going to execute patterns which have to do with the man's relations to the horse, Two points which might be raised in connection with the Chinese theatre were what constituted great ness in an actor and what chance there was for progress. Dr. Chany considered that good actors give a Sense of Intelligent appreciation of detail. a certain keeness and edge, oF what the Americans 30 succinctly term, 2 "kick" They are also. distinguished by heir attention to the continuity of patterns, making it almost impossible for the audience discover where one begins or ends. There was room for progress and the
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