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butsohoselvestoit,asthearishave
fropurelyliterarypointofvieatiatypeofpoetry
”civilized”odetheatrebuildings.
...
lovelyasthetaryis,asandtheodddratigs
yfireliefthat,
arealfoodof
greatchukoliangireetsofoldpeking.
or”operania,”aenseeaniafthelohdishevelled
oddnts,andyouhaveapictureoftherelatiohe
actorshadtopetehthepeddlerscries,thebarberstuningforks,the
barkingofdogs.abovesuchadin,onlyathinfalsettokeyedinahighpitchuld
aniaina,unknoi
orlessaloaintraditio
st,oobe
hsiaotiao}tofindsoofovesre
esegentlensnervesonend.itispossiblyallaquestionofadaptation.butthe
it.tiedand
inofthedruandgongsandthefalsettolybeuoodinthelightof
falsettooflesingers,.this
abovethegroundiatheopen,orshtacrossathhfare,tobetaken
fnvisitorsatesetheatresareoftenstruruciatingnoise
thepoor.deeperthananyotherliteraryart,theoperashavegohehearts
stagediheatrebuilding,thevoluofhusproducedistrulyterrific,
dodiatelyaftertheoasioheatrehereforeintheopenandthe
unterevideheapparentforteristoleratesqueaks
havebeenheard,asanybodyyverifyforhielf.thegongsanddruwerealso
usedasaansofattragattention;theyalheplaysanduldbe
adaptedtheelvestojazz.theyheylifetogeta”kick”outof
frohesaxophoneandothersounddnessfrohejazzbandany
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theesetheatreofthebettertypeinayardliketheelizabethare.
esetheatresurroundings.
ofthepeople.igineapeopleassesknoireetsandatall
ltsugarsellerssllgongs,theshoutingofn,enandchildrenandthe
heardaleaovies.when
enatingfrohegongsanddruinlitaryplaysandtheequallynerverag
instcases,hoph
hairandcladintatters,singingtheairsofkunggdagthepartofthe