232
During the many dynastic changes since its foundation its existence has been chequered by a number of misfortunes. Hung Wu, the first emperor of the Ming, rebuilt its shattered walls and refurbished its many rooms. It was fit and proper that the main building should be in Peking, but Hung Wu, unable to forget that Nanking had become the capital of his choice, also built and endowed a sister institution in that city. With the advent of the Manchu dynasty in 1644 this last foundation ceased to exist.
Our story now turns to backstage of a temporary side street Ch'aochou opera theatre in Singapore's Chinatown. The mat shed theatre over a framework of bamboo was a standard construction seen from time to time when a side street would be taken over and the theatre erected for a few days whilst virtually non-stop opera would be performed and relayed by an external tannoy system to ensure that everyone within earshot, and not just the audience sitting on stools and benches before the stage, would not miss a note.
The old man in charge of backstage, surrounded by crates containing the robes, head-dresses, beards and other accoutrements for the players, had his own special easy chair, a folding canvas camp chair, alongside the portable altar or shrine suspended from a lateral bamboo facing forward. The two images of deities had been removed and placed on a folding table together with standard offerings beneath the shrine.
The interior of the red portable shrine was concealed by two hanging red curtains, some two foot wide and the same in height, denying any view of the contents. The two deities, virtually identical images of youths swathed in red robes and wearing red embroidered trousers, were articulated to permit the robes to be slipped over the arms before being buttoned up the front.
On closer examination the three characters embroidered on the front top of the red curtains hanging before the shrine described it as the Han Lin Academy. This title in such an unexpected place is extraordinary. The old man was at first unwilling to explain its significance and then under a little pressure confirmed that he did not know. Nor did any of the cast. Can any reader cast light on the reason for this title being given to a backstage shrine?
232
During the many dynastic changes since its foundation its existence has been chequered by a number of misfortunes. Hung Wu, the first emperor of the Ming, rebuilt its shattered walls and refurbished its many rooms. It was fit and proper that the main building should be in Peking, but Hung Wu. unable to forget that Nanking had become the capital of his choice, also built and endowed a sister institution in that city. With the advent of the Manchu dynasty in 1644 this last foundation ceased to exist.
Our story now turns to backstage of a temporary side street Ch'aochou opera theatre in Singapore's Chinatown. The mat shed theatre over a framework of bamboo was a standard construction seen from time to time when a side street would be taken over and the theatre erected for a few days whilst virtually non stop opera would be performed and relayed by an external tannoy system to ensure that everyone within earshot, and not just the audience sitting on stools and benches before the stage, would not miss a note.
The old man in charge of back stage, surrounded by crates containing the robes, head-dresses, beards and other accoutrements for the players, had his own special easy chair, a folding canvas camp chair, alongside the portable altar or shrine suspended from a lateral bamboo facing forward. The two images of deities had been removed and placed on a folding table together with standard offerings beneath the shrine.
The interior of the red portable shine was concealed by two hanging red curtains, some two foot wide and the same in height, denying any view of the contents The two deities, virtually identical images of youths swathed in red robes and wearing red embroidered trousers, were articulated to permit the robes to be slipped over the arms before being buttoned up the front.
On closer examination the three characters embroidered on the front top of the red curtains hanging before the shrine described it as the Han Lin Academy. This title in such an unexpected place is extraordinary. The old man was at first unwilling to explain its significance and then under a little pressure confirmed that he did not know. Nor did any of the cast. Can any reader cast light on the reason for this title being given to a backstage shrine?
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