THE “TALKIES”

Hokitika Guardian, 14 February 1930, Page 2

THE “TALKIES”

CHINA’S ANCIENT ART

A form of talking moving picture plays originated in China more than a Hundred years ago before the Christum era, and has continued in popularity to the present day. This is the ancient Chinese shadow play, which anticipated talking pictures by having readers toy produce voice effects. Collection of the figures used in the action of those early moving pictures obtained by expeditions into China, ioim an interesting part oi the exhibits illustrating various types of Oriental heatricals at Fields Museum of Natural History. The museum also has examples of the screen and other equipment used for the projection of shadow plays. The history and details of the pro--1 uction of shadow-plavs have been traced by Dr Berthold Laufer, curator if anthropology at the museum and leader of the museum’s Chinese expedtions.

VCTOPS REALLY- BEHIND SCENES “The scenarios used in shadow-plays are derived from the literary drama of the ligitimate stage, and they, with marionette shows constitute the most popular theatrical pastimes of the Chinese,” says Dr Laufer. “The shad-ow-plays are an early form of talking moving picture, with a reader reciting the words of the plot as the figures perform the action. Their appeal to popular taste lies in the fact that the words are recited in the living vernacular, while the repertoire of the legitimate stage of China adopts the literary, language of the classics,.which is mtelligible to only a limited group.

“The acting figures in the shadowplays are flat and ingeniously cut out of parchment, usually ox or sheep skin evenly coloured and varnished on both sides. When held against the light they are transparent. A screen of white gauze lighted, is .stretched between two poles. The figures held by wires stuck into bamboo or reed handles, are skilfully manipulated behind the screen, upon which their shadows are cast. Heads, arms and legs are cut out separately and hinged to the body, so that great agility of motion is assured. “The performance always is accompanied by a small orchestra, while the various roles are recited bv the operator seated behind the curtain. The plots are taken from Buddhist and Taoist lore or incidents in the history ol China. The shndowplnys excel in comic or satiric subjects; their wit is aimed at human weaknesses, official corruption and social and political evils.

ORIGINALLY RELIGIOUS IN

CHARACTER.

“The shadow-play was originally of a religious character, and gradually assumed the functio nof mere entertainment. It is, without doubt, indigenous to China ; whence it spread to the Persians, Arabs, Turks and other peoples, finally reaching Europe. The first mention made of it in historical annals relates to 121 b.c. The historian relates an anecdote of Wu-ti, an emperor who lost one of his favourite wives, and was obsessed by a great desire to see her again.

A magician appeared at court who was able to throw her shadow 011 a trnnspnrnnt screen. The story is symbolic of the general idea underlying the early shadow performances—the shadow figures were regarded as souls of the departed, summoned back into the world by professional magicians.”