st,oobe

butsohoselvestoit,asthearishave

usedasaansofattragattention;theyalheplaysanduldbe

instcases,hoph

esetheatresurroundings.

aniaina,unknoi

barkingofdogs.abovesuchadin,onlyathinfalsettokeyedinahighpitchuld

esegentlensnervesonend.itispossiblyallaquestionofadaptation.butthe

havebeenheard,asanybodyyverifyforhielf.thegongsanddruwerealso

frohesaxophoneandothersounddnessfrohejazzbandany

orlessaloaintraditio

inofthedruandgongsandthefalsettolybeuoodinthelightof

lovelyasthetaryis,asandtheodddratigs

theesetheatreofthebettertypeinayardliketheelizabethare.

oddnts,andyouhaveapictureoftherelatiohe

yfireliefthat,

ofthepeople.igineapeopleassesknoireetsandatall

thepoor.deeperthananyotherliteraryart,theoperashavegohehearts

fnvisitorsatesetheatresareoftenstruruciatingnoise

fropurelyliterarypointofvieatiatypeofpoetry

dodiatelyaftertheoasioheatrehereforeintheopenandthe

hairandcladintatters,singingtheairsofkunggdagthepartofthe

falsettooflesingers,.this

stagediheatrebuilding,thevoluofhusproducedistrulyterrific,

greatchukoliangireetsofoldpeking.

hsiaotiao}tofindsoofovesre

heardaleaovies.when

or”operania,”aenseeaniafthelohdishevelled

unterevideheapparentforteristoleratesqueaks

enatingfrohegongsanddruinlitaryplaysandtheequallynerverag

abovethegroundiatheopen,orshtacrossathhfare,tobetaken

actorshadtopetehthepeddlerscries,thebarberstuningforks,the

arealfoodof

ltsugarsellerssllgongs,theshoutingofn,enandchildrenandthe

adaptedtheelvestojazz.theyheylifetogeta”kick”outof

it.tiedand

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”civilized”odetheatrebuildings.