University of Virginia Library

He Knew His Foreigners

Sojin here explained the really monumental task achieved in studying and producing these plays in Japan. There would be foreign companies touring there, and playing in the chief cities. He would go to every performance, intensively study the plays and the style of the acting. He was, moreover, a pupil of Professor Tsubuchi, at Waseda University, the scholar who translated into Japanese not only Shakespeare, but Ibsen and the Russian, German, and French classics.

Sojin explained that he produced some of these plays as Japanese. That is to say, he would transpose the originals and adapt them so that the scene was Japan and the characters Japanese. Thus Hamlet became Prince Hamura Tashimura, son of the reigning Daimyo (Lord or Prince) of a great feudal Province. Othello was a new-rich Prince, of Pariah ancestry, as he was descended from the despised Eta race. Desdemona was a Princess of high Patrician blood. “King Lear” was a favorite with the Japanese. Sojin was inclined to think that the plays of Shakespeare bore a resemblance to many of the old Japanese classics.

The stage is a subject near to the heart of Sojin, but I presently brought the subject around to motion pictures.

“Are the movies popular in Japan? Do the Japanese like American pictures?”

Sojin is slow at replying. He weighs a question and sorts out his words. Then he answers with something of a flash as if the answer had just occurred to him.

“Ah! How like movie at Japan? Very much same as American first like chop suey. You understand?”

We laugh in complete understanding, but Mrs. Sojin puts in almost breathlessly: “It is give shock, very strange, queer, liddle bit suspicious, but very much like little while.”

Sojin who has come somewhat out of his shell by now, likens the movie craze in Japan to an epidemic. Everybody goes to the movies. The favorite stars are Charlie Chaplin, Lillian Gish, Nazimova, Fairbanks and Hoot Gibson.

“How do Japanese audiences react to the sex element in American pictures?” I ask.

Sojin considers. He has recourse to his wife. They whisper a bit in Japanese, and then Mrs. Sojin in English: “Sex—it is American make—Love—kiss—embrace.” She illustrates, quite eloquently, with her hands. Sojin nods and blinks with dazed comprehension. Then she continues:

“Well, Japanese audience get one shock after one another on American play. He's adjust to new kind shock. He is shock, struck, kick, shooted at. All very different Japanese ideal. Very much bewilder and delicious fright.”

A pause, thoughtful on Sojin's part. Then leaning forward, with his long sensitive hands flattened together, he says: “Very significant thing I confide you. Three year ago ninety per cent. Japanese people want foreign picture. Ten per cent. ask Japanese picture. Today he is changing. Eight per cent. Japanese people ask for Japanese picture. Twenty per cent. demand foreign.”

Mrs. Sojin deprecates this revelation.

“You understand. Americans not like see all pictures of Japanese or Chinese life maybe. Is same at Japan. You understand? Sank you!”