[
    {
        "id": 210202,
        "series_id": 26,
        "series_slug": "histsyn-rashkb-journal-engine",
        "series_title": "RASHKB Journal 皇家亞洲學會香港分會學刊",
        "series_use_hku_proxy": false,
        "document_key": "RAS-1984",
        "page_number": 173,
        "title": "RAS-1984",
        "content_text": "152\n\nR.J. MINERS\n\n28\n\nThis report was sent to Hong Kong for comment; a committee was appointed by the Governor which naturally refuted the more extreme of Mrs. Neville-Rolfe's strictures, and disagreed with her recommendations. Correspondence between the Governor and the Colonial Office on the matter continued for several years. Stubbs strongly supported the established system of regulation and the only suggestion that he was prepared to implement was the provision of free outpatient treatment for venereal diseases at the government hospital. Meanwhile in London the National Council for Combating Venereal Disease and other women's organizations continued to badger the Colonial Office to put pressure on Hong Kong, and the report by Mrs. Neville-Rolfe and Dr. Hallam provided a fine source of material for questions in the House of Commons, particularly from a small group of newly elected women M.P.s, led by Viscountess Astor.\n\nThe main focus of parliamentary attention, however, was not on Hong Kong but Singapore. The government of the Straits Settlements had repealed its contagious diseases legislation in 1894 at the same time as Hong Kong and had set up a similar extra-legal system of tolerated houses. As in Hong Kong, newly arrived prostitutes were interviewed by the staff of the Chinese Protectorate, lists of known brothels and their inmates were maintained and brothel mistresses arranged for their girls to be inspected by private doctors under the implicit threat of the closure of their premises. But this system of control had become less effective and comprehensive by the 1920s. All European prostitutes had been deported in 1916 as a wartime measure, and the Japanese brothels had been closed and their inmates repatriated to Japan at the instance of the Japanese consul-general in 1919. Their clientele then turned to the growing number of sly brothels staffed by Chinese and Malay women who were not subject to any form of control and who were, it was alleged, normally infected with disease. This led to a rapid increase in venereal disease among both the European and Chinese population. Exact figures were not available but various doctors estimated the incidence at between 50 and 75 per cent among the local Chinese and possibly at as high a ratio among the Europeans. In 1923 the Governor appointed a small expert committee of medical men to investigate the problem. After painting a grim picture of the situation the committee",
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        "external_url": "https://digitalrepository.lib.hku.hk/catalog/5h73wh572",
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    },
    {
        "id": 210203,
        "series_id": 26,
        "series_slug": "histsyn-rashkb-journal-engine",
        "series_title": "RASHKB Journal 皇家亞洲學會香港分會學刊",
        "series_use_hku_proxy": false,
        "document_key": "RAS-1984",
        "page_number": 174,
        "title": "RAS-1984",
        "content_text": "153\n\nunanimously recommended the re-enactment of the contagious diseases legislation in its entirety including the registration of all brothels, the licensing of their inmates and the compulsory medical examination of all prostitutes whether working in brothels or independently. The Governor quickly accepted the conclusions of the report; a bill was drafted to implement them without delay; and both were sent home for the approval of the Secretary of State.\n\nThe draft bill immediately evoked a storm of protest. To calm the critics both inside and outside the House of Commons the Secretary of State appointed a new Advisory Committee on Social Hygiene and asked it to consider the bill and the report on which it was based. The committee included the redoubtable Mrs. Neville-Rolfe and Lady Astor. It spent little time in considering the arguments put forward in the Straits Settlements for the state control of prostitution, which it considered to be completely discredited. Its final report asserted that, quite apart from the moral arguments, periodical examinations of prostitutes was medically ineffective in checking the spread of venereal disease; no examination could guarantee that a woman was free of disease, and even if she was she could become infected immediately afterwards or be the carrier of the contagion from one client to the next; such examinations merely gave men a false sense of security and encouraged promiscuity. The committee recommended various measures to improve social conditions, better housing, education and more recreational facilities; more doctors and free diagnosis and treatment. Its main conclusion was that all known brothels should progressively be closed down commencing with those frequented by Europeans, and that all sly brothels should be closed as soon as they were detected. The committee's conclusions were unanimous and the Secretary of State, Leo Amery, had no alternative but to over-rule the Governor and direct that the recommendations of the committee should be carried out. This was done and the closure of brothels in the Straits Settlements commenced in 1927.\n\nThe Social Hygiene Committee had only been asked to consider what was to be done at Singapore, but its conclusions obviously applied equally to Hong Kong and other colonies. But no similar",
        "txt_file_path": "txt/dfo323lmgvd/RAS-1984.txt",
        "external_url": "https://digitalrepository.lib.hku.hk/catalog/5h73wh572",
        "rank": 0
    },
    {
        "id": 211793,
        "series_id": 26,
        "series_slug": "histsyn-rashkb-journal-engine",
        "series_title": "RASHKB Journal 皇家亞洲學會香港分會學刊",
        "series_use_hku_proxy": false,
        "document_key": "RAS-1989",
        "page_number": 208,
        "title": "RAS-1989",
        "content_text": "183\n\nJanuary 27 1874 William Suter's Incompatibility of Temper and Tom Taylor's Masks and Faces or Before and Behind the Curtain opened the season in the New Lyceum Theatre. This one lasted much longer than its predecessor, indeed, until 1929 when it was sold to be resuscitated in the French Concession in 1931.\n\n——\n\nBut to return to pre-1867 conditions, some final notes should be added. Shanghai saw its first tentative steps in lighting its streets with gas in 1865 which was no luxury as the state of the roads was often rather dubious. Lighting in the theatre therefore, both the auditorium and the stage, was by means of either candles or oil lamps, the danger and inadequacies of which require no further comment.\n\n—\n\nRegulation of the climate in the hall was also difficult. Temperatures in Shanghai can be as low as 12°C in January and as high as 40°C in June-August. In order not to deter the audience, heating had to be provided in winter, which was duly advertised: \"Thoroughly warmed with splendid stoves\", whereas in summer which was certainly in the early years an unusual time for entertainment - one could read that \"to obviate the excessive heat of a crowded house, the Company beg to state that they have had two large Punkahs hung and have otherwise improved the ventilation\" (a punkah was a large rectangular fan suspended from the ceiling and moved by servants).\n\nPerformances started generally at 8 o'clock or 8.30 (even 9) (1864-1865) and entry prices were $3 for the best seats and $2 for the other ones (back seats and gallery) (The Mexican dollar, one of the currencies used in Shanghai, fluctuated in value, but may be said to have been worth about 4/6 during these years — so no \"shilling gallery\" here).\n\nIn addition to the godown theatres there were a number of other localities where artistic entertainment occurred in 1865. On February 23 1865 a concert was given at the Astor House Hotel. This hotel had been founded by an American, D.C. Jansen, in 1860 and it was situated in a part of the Settlement known as Hongkew (or American Settlement), north of the Soochow Creek, near the bridge. It was destined to become one of the most famous hotels in Shanghai and it was rebuilt several times. But in 1865 it was still a low construction. Other concerts, on October 17 1864, February 15 and March 1865, were given at the Shanghai Club, a redoubtable pillar of society located at the southern end of the Bund where it was opened in 1864. It was built in a neoclassical",
        "txt_file_path": "txt/dfo323lmgvd/RAS-1989.txt",
        "external_url": "https://digitalrepository.lib.hku.hk/catalog/8336pm92h",
        "rank": 0
    },
    {
        "id": 211805,
        "series_id": 26,
        "series_slug": "histsyn-rashkb-journal-engine",
        "series_title": "RASHKB Journal 皇家亞洲學會香港分會學刊",
        "series_use_hku_proxy": false,
        "document_key": "RAS-1989",
        "page_number": 220,
        "title": "RAS-1989",
        "content_text": "195\n\nhis alarm allayed amidst the warmest applause from the audience for his clever and successful \"sell\". In addition the editor wrote that this Prologue afforded H. E. more valuable hints how to treat the Rebellion than all the suggestions that have been submitted to him since his arrival. Apparently Bonham was \"so much delighted that we are not without hopes a report on the performances may form the subject of his first despatch from Shanghae”. So much for modesty. As regards the performances themselves, the writer had it in confidence from a tall whiskered male who occupied a front seat disguised in a dress coat, that although Hong Kong theatre is now more conveniently lit up in the Victoria Theatre in acting Shanghae would not suffer by comparison\". \"That treaty port chauvinism was not lacking even at that early stage was made clear when the visitor insisted that our Head Actor has been brought from Hong Kong”. Despite his earlier lukewarm praise he must have made some sour remarks too, for the editor wrote that \"except as to the heroine, his critical skill was evidently at fault in discriminating the excellences of the other performers in Betsey Baker; and all he could be got to say regarding Apartments was something about Mr. and Mrs. Keeley having many worse imitators” (Robert Keeley, 1793-1869; and Mrs. Keeley (Mary Ann Coward), 1806-1899: famous British actors). (NCH 26.3.1853).\n\n5.5.1853 (Thur)\n\nG.A.A. BECKETT: \"Siamese Twins\" (1834)\n\nT: Farce (1 act)\n\nR. BUTLER: \"The Irish Tutor\" (1822)\n\nT: Farce (1 act)\n\nC: Amateurs\n\nF: Music by the band of the Susquehanna\n\nTh: Imperial Theatre (B)\n\nN: Final performance of the season\n\nR: The close of the season by the amateurs who called themselves the \"Lily Troupe\" for a \"bumper house\"; with some “admirable music by the Band of Susquehanna\" — a steamer belonging to the U.S. Japan Squadron. (NCH 7.5.1853).\n\n8.3.1854 (Wedn)\n\nJ.M. MADDOX: “A Fast Train! High Pressure!! Express!!!\" (1853)\n\nT: Farce\n\nW.B. BERNARD: “A Practical Man\" (1849)\n\nT: Farce\n\nC: Amateurs\n\nP: Music\n\nTh: Tac Ming Theatre (C)\n\nR: At the start of the evening a, for part of the audience at least, unexpected treat was in store: “On the rising of the curtain a ludicrous incident quite upset our friend BUSKIN. He was set down to enact \"Colonel Jack Delaware\" (in A Fast Train — JH) but a storm met him as soon as he appeared on the stage and he was fairly hissed off when a stranger leapt over the footlights and announced his intention of supporting the character. The curtain dropped and after a short delay the volunteer Yankee came forward, dressed in the most extravagant fashion and took up the part with great spirit\". Was the leading actor-manager really taken by surprise? This could hardly be, and it must be assumed that it was, like the \"rebellion\" before, a set up. At any rate the \"interloping Yankee was enrolled in Buskin's company. The musical department was sustained by \"Messrs Thalberg and Koenig with their usual talent and success\". Both these noms de théâtre were after well known musicians: Sigismund Thalberg (1812-1871), a Swiss pianist and composer; and Friedrich Koenig, a German violinist. (NCH 11.3.1854).",
        "txt_file_path": "txt/dfo323lmgvd/RAS-1989.txt",
        "external_url": "https://digitalrepository.lib.hku.hk/catalog/8336pm92h",
        "rank": 0
    },
    {
        "id": 211820,
        "series_id": 26,
        "series_slug": "histsyn-rashkb-journal-engine",
        "series_title": "RASHKB Journal 皇家亞洲學會香港分會學刊",
        "series_use_hku_proxy": false,
        "document_key": "RAS-1989",
        "page_number": 235,
        "title": "RAS-1989",
        "content_text": "210\n\nBagshaw and Bradshaw, the critic had to admit that \"what it was all about we were utterly unable to discover\" (NCH 4.6.1859).\n\n15.2.1860 (Wedn)\n\nL.S. BUCKINGHAM: \"Take that Girl Away\" (1855)\n\nT: Comedy (2 acts)\n\nC. SELBY: \"A Fearful Tragedy in the Seven Dials\" (1857)\n\nT: Farce (1 act)\n\nC: Amateurs\n\nTh: N.N. (F)\n\nN: First performance of the season\n\nR: The new theatre was only a small one and therefore it was announced in the Herald of February 11 that \"admission will only be given to ticket holders. Tickets will be distributed with the Bills to the various Hongs and any Gentleman who may be accidentally omitted will be supplied on written application to the Manager\". From time to time politics continued to turn up in the playhouse. It was the time of the English and French wars in China; the United States was not taking part in them, only sharing in the spoils, yet the following remark closed the review: \"We beg permission to observe that we should have been glad to have seen the 'Star Spangled Banner' floating over the proscenium along with the colours of France and England. All honour to the Anglo-French Alliance! But our American cousins form, in every respect, so important a section of this community that the absence of their flag on an occasion like Wednesday evening would seem to be a discourtesy of which we feel very sure that the worthy management never was intentionally guilty\". Tonight, and on March 15, the faces of Messrs. PICKWICK, BRUSHWOOD, and TINTINNABULUM as well as that of Mrs. NESBIT were absent from the stage; others like Miss WALTERS and Mr. PETREL had remained. Making their debut were Mr. ADOLPHE, \"gifted with both self-possession and a good voice\"; Mr. WITHAM who, as Cuttle (in Take that Girl Away) \"displayed a steadiness and a clearness of enunciation calculated to make him a valuable actor in 'utility' parts\"; and Mr. NATIVE whom the reviewer thought \"better fitted to shine as a sentimental than as a grotesque lover\". Miss WALTERS was \"dressed to perfection, played as well as ever (can we say more!) and was charmingly feminine\". In A Fearful Tragedy in the Seven Dials, there was the first night of Mr. C. AITCH as Slumpington for whom **a great future success in 'character parts' was predicted. These hopes were not realised, however, for I have not found his name again. For the umpteenth time, the Herald judged the pieces that were represented weak - to put it mildly. (NCH 18.2.1860).\n\n15.3.1860 (Thur)\n\nT. TAYLOR: \"Still Waters Run Deep\" (1856)\n\nT: Comedy (3 acts)\n\nJ.M. MORTON: \"Poor Pillicoddy\" (1848)\n\nT: Farce (1 act)\n\nC: Amateurs\n\nF: Music by the band of H.M.S. Imperieuse\n\nTh: N.N. (F)\n\nN: Second performance of the season\n\nR: This second night took place in a house that was \"crowded in every part\" and proved \"in every respect highly successful\". The \"Man on the Bund\" had no longer a say in the theatrical reports, and the piece about which he had been so dissatisfied (see 23.4.1857), Still Waters Run Deep got a far better critique now: \"in that scene in the second act in which the villain Hawksley is unmasked, the interest was raised to an exciting pitch and sterling dramatic ability displayed by the performers\". No actors were mentioned, but in Poor Pillicoddy, a \"young gentleman made his first appearance",
        "txt_file_path": "txt/dfo323lmgvd/RAS-1989.txt",
        "external_url": "https://digitalrepository.lib.hku.hk/catalog/8336pm92h",
        "rank": 0
    },
    {
        "id": 211828,
        "series_id": 26,
        "series_slug": "histsyn-rashkb-journal-engine",
        "series_title": "RASHKB Journal 皇家亞洲學會香港分會學刊",
        "series_use_hku_proxy": false,
        "document_key": "RAS-1989",
        "page_number": 243,
        "title": "RAS-1989",
        "content_text": "218\n\n1.4.1864 (Fri)\n\nR.B. BROUGH: \"Crinoline\" (1856)\n\nT: Farce (1 act)\n\nJ.M. MORTON: \"A Most Unwarrantable Intrusion\" (1849) T: Farce (1 act)\n\nN.N.: \"The Debut\"\n\nC: Messrs Shannon and Phillips with an amateur company\n\nTh: N.N. (H)\n\nR: Not too enthusiastically the Herald wrote that \"had Messrs PHILLIPS and SHANNON been better supported the performance would probably have proved a more decided success\". Must it be supposed that the amateurs were locals, who were otherwise so much lauded? (NCH 2.4.1864).\n\n4.4.1864 (Mon)\n\nRepeat of 30.3.1864,\n\n18.4.1864 (Mon)\n\nFirst performance by a Portuguese Amateur Dramatic Corps. TH: N.N.\n\nR: This first performance by a local Portuguese company was considered favourably: \"the arrangement of the costumes and acting were all good and amply rewarded a visit even by those who may not understand the Portuguese language\". (NCH 23.4.1864)\n\n25.4.1864 (Mon)\n\nJ. OXENFORD: \"Retained for the Defence\"\n\nT: Farce (1 act)\n\nC.S. CHELTNAM: \"A Lucky Escape\" (1861)\n\nT: Comic drama (1 act)\n\nT.J. WILLIAMS: \"On and Off\" (1861)\n\nT: Farce (1 act)\n\nC: Amateurs of the Shanghai Volunteer Corps\n\nTH: N.N. (H)\n\nN: Second performance of the season\n\nR: This second Volunteer Corps night drew a crowded house and the reporter was pleased to see that \"a majority of the lady residents were among the audience\", the more so as they \"by their presence contributed to inspire the performers with the desire to excel which led to such complete success\". No names were given in the review, but in A Lucky Escape “it would have required very sharp eyes to detect that the actress [who personated Louise] was, in fact, an actor\". Here the truth is finally revealed! In On and Off he/she took the part of Letitia equally well. (NCH 30.4.1864)\n\n9.5.1864 (Mon)\n\nN.N.: \"Nature and Philosophy or Eighteen Years' Labour Lost\"\n\n(The only piece with this title in HED is one that had its first night on 18.4.1876. However, Brown, \"A History of the New York Stage\", Vol. I, p. 235 mentions a performance of this play on June 1 1833).\n\nG. COLMAN Jr: \"Love Laughs at Locksmiths\" (1803)\n\nC: C.R. Faylor's travelling company\n\nF: Comic songs, dance, music\n\nTh: Olympic Theatre (H)\n\nR: Casts:\n\nNature and Philosophy:\n\nBrother Philip: Major Pegus\n\nRenaldo: C.R. Faylor\n\nEliza: Mrs. E. Yeamans\n\nGertrude: Mr. E. Yeamans",
        "txt_file_path": "txt/dfo323lmgvd/RAS-1989.txt",
        "external_url": "https://digitalrepository.lib.hku.hk/catalog/8336pm92h",
        "rank": 0
    },
    {
        "id": 211830,
        "series_id": 26,
        "series_slug": "histsyn-rashkb-journal-engine",
        "series_title": "RASHKB Journal 皇家亞洲學會香港分會學刊",
        "series_use_hku_proxy": false,
        "document_key": "RAS-1989",
        "page_number": 245,
        "title": "RAS-1989",
        "content_text": "220\n\nR: In the advertisement it was stated that tickets could be obtained from Messrs Lane, Crawford & Co, G.A. Bretts' Auction Room and Astor House Hotel. Lane, Crawford was a general store that had been established in Kiangsi Road (ex Church Street) since June 1862. The Astor House Hotel was situated in Hongkew (see also Survey).\n\n17.6.1864 (Fri)\n\nPerformance by Messrs J.R. Black and Marquis Chisholm (piano)\n\nTH: N.N. (H)\n\nN: Benefit for Mr. Chisholm\n\nR: John Reddie BLACK (1827-1880) was born in Scotland, but went to Australia to earn a living as a singer in the goldfields. After arriving in Japan, 1861, he became the editor of some English newspapers and from 1876-1880 he edited several papers in Shanghai. In 1864 he still managed to combine his two vocations. His entertainment was \"composed of songs interspersed with anecdotes and conversation of the most lively description which he varied every evening. He has a splendid voice and sings with great taste and feeling\" (NCH 4.6.1864). His accompanist on the piano was Mr. L.C. PHILIPPS (cf. 1.4.1864), but the latter died of cholera and his place was taken by Mr. Marquis CHISHOLM who was no newcomer to the Shanghai public. On June 17 he played a fantasia on Japanese airs, composed by himself. As a matter of coincidence there was \"an absence of ladies, many of whom are at present rusticating in Japan\", but for the other evenings \"the audience has always comprised the majority of the ladies resident in the Settlement\". Evidently this had come to be considered as most desirable, perhaps to lend an air of respectability to the performance. (NCH 11, 18.6.1864).\n\n22.6.1864 (Wedn)\n\nH.J. BYRON: \"Il Treated Il Trovatore\" (1863)\n\nT: Burlesque extravaganza (1 act)\n\nC: Shanghai Amateur Burlesque Company\n\nF: Music by the Rhenish Band\n\nTh: Olympic Theatre (H)\n\n+\n\nR: The first night of a new company, the \"*Shanghai Amateur Burlesque Company\" and, if we may believe the Herald, the Shanghai world \"was completely taken by surprise. So minute an acquaintance with stage proprieties was shown that many of the audience were disposed to believe that they were witnessing a display of professional talent”. (NCH 25.6.1864).\n\n29.6.1864 (Wedn)\n\nH.J. BYRON: \"Ill Treated 11 Trovators\" (1863)\n\nT: Burlesque extravaganza (1 act)\n\nT.H. LACY: \"A Silent Woman\" (1835)\n\nT: Farce (1 act)\n\nC: Shanghai Amateur Burlesque Company\n\nF: \"New burlesque music\" by the Rhenish Band\n\nTh: Olympic Theatre (H)\n\nR: This is one of those increasing occasions in which only a short summary was published in the Herald, while the full report had appeared in the North China Daily News, no longer extant for this year. In any case the hope was expressed that more would be seen of the company \"as soon as the cool weather sets in\" (NCH 2.7.1864). According to the advertisement, tickets were obtainable from Lane, Crawford & Co (see 13.6.1864), Hall & Holtz (Ship chandler, general store and bakers; at the corner of Foochow Road (ex Mission Road) and Kiangsi Road (ex Bridge Street); MacKenzie & Co (shipchandlers, general store and general agents on the Yangkingpang in the French Concession); the Astor House Hotel; and Phillips Restaurant (Phillips, Moore & Co, Nanking Road-ex...)",
        "txt_file_path": "txt/dfo323lmgvd/RAS-1989.txt",
        "external_url": "https://digitalrepository.lib.hku.hk/catalog/8336pm92h",
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    },
    {
        "id": 211831,
        "series_id": 26,
        "series_slug": "histsyn-rashkb-journal-engine",
        "series_title": "RASHKB Journal 皇家亞洲學會香港分會學刊",
        "series_use_hku_proxy": false,
        "document_key": "RAS-1989",
        "page_number": 246,
        "title": "RAS-1989",
        "content_text": "221\n\nPark Lanc?). The names of the actors mentioned in the advertisement must have been assumed ones.\n\nJune and July 1864\n\nConcerts by the Rhenish Band and the Band of the 67th Regiment.\n\nLoc.: The Bund\n\nR: NCH 28.5.1864, 2.7.1864\n\n2-9.1864\n\nH.J. BYRON: “Aladdin or the Wonderful Scamp\"\n\nT: Burlesque extravaganza (1 act)\n\nC: Shanghai Amateur Burlesque Company\n\nTh: N.N. (l)\n\nR: That the hope expressed in the Herald of 2.7. was not forlorn was proved by the full house for Aladdin in which \"numerous local hits and puns are introduced which took admirably, especially a parody pidgin English on the 'lost child' (see Survey). The dresses were excellent and the scenery well arranged\" (NCH 1.10.1864).\n\n24.9.-30.9.1864\n\nDuring the week a concert was given by Mr. Desvachez (violin) and two amateurs, TH NM.\n\nR: Another adventurous musician had come to enliven the Settlement's cultural scene. Mr. DESVACHEZ. His concert was \"fairly successful, but people here hardly care to sit for two hours to listen to a performance on the violin, however well the instrument may be handled. Some variety is required and although Mr. DESVACHEZ was assisted by an amateur on the violincello and a pianist this desideratum was hardly attained\". (NCH 1.10.1864).\n\n6.10.1864\n\nOpening night of Lewis Australian Drama Company.\n\nNo titles of plays recorded.\n\nTh: NẠN. (I\n\nR: The first night of an eight-week season by Lewis' Australian Drama Co. (see also Survey). In the Herald, no detailed reviews appeared, only short summaries. The opening pieces have not even been recorded (NCH 8.10.1864).\n\n8.10.-14.10.1864\n\nH.J. BYRON: \"The Maid and the Magpie\" (1858)\n\nT: Burlesque burletta (1 act)\n\nA.G. HARRIS: \"The Rose of Castille\" (1857)\n\nT: Opera (music by M.W. BALFE)\n\nJ.R. PLANCHE: \"Paint Heart Never Won Fair Lady\" (1839)\n\nT: Comedy (1 act)\n\nC: Lewis A.D.C.\n\nTh: Lyceum Theatre (l)\n\nR: It was reported that the company attracted \"olerably full houses\". Of the plays, Byron's The Maid and the Magpie was \"infinitely preferred; in it every actor is well up to his part and personates the character he represents with ludicrous fidelity\". (NCH 15.10.1864).\n\n£5, 10, 1864 (Sat)\n\nPerformance by the Portuguese Amateur Dramatic Corps.\n\nNo titles of plays mentioned.\n\nR: In their own theatre, the Portuguese actors were as usual well up in their parts and",
        "txt_file_path": "txt/dfo323lmgvd/RAS-1989.txt",
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    },
    {
        "id": 211836,
        "series_id": 26,
        "series_slug": "histsyn-rashkb-journal-engine",
        "series_title": "RASHKB Journal 皇家亞洲學會香港分會學刊",
        "series_use_hku_proxy": false,
        "document_key": "RAS-1989",
        "page_number": 251,
        "title": "RAS-1989",
        "content_text": "226\n\nappearance. The music selected afforded great satisfaction to the audience and was really very well performed. The violin solos by a gentleman Amateur of the place were most deservedly encored. Indeed we fancy few home concerts could show anything of the same sort much better. Amateur concerts we are sure rarely could\".\n\n23.2.1865 (Thur)\n\nConcert by Signor Enrico Grossi, assisted by Messrs Desvachez and Terry, and the Rhenish Band.\n\nTh: Astor House Hotel\n\nR: All professional artists performed without any government subsidies so they had every reason to look forward to as large an audience as possible. Signor GROSSI evidently was a freemason for the Commercial Record reported that \"his masonic relations produced for him a full house\" (SCR 8.3.1865). Freemasonry, which had been introduced in Shanghai in 1849, was rather widespread among the (male) foreign residents and the brethren who had turned up rewarded Sr GROSSI's \"efforts to please by frequent bursts of applause\" (NCH 25.2.1865). No details of the programme were given.\n\n14.3.1865 (Tue)\n\nConcert in aid of the Shanghai Volunteer Club fund.\n\nTh: Shanghai Club\n\nR: RCH 18.3.1865\n\n21.3.1865 (Tue)\n\nJ. COURTNEY: \"Time Tries All\" (1848)\n\nT: Drama (2 acts)\n\nJ.M. MORTON: \"To Paris and back for $5\" (1853)\n\nT: Farce (1 act)\n\nC: Amateurs of the Shanghai Volunteer Corps\n\nTh: Lyceum Theatre (1)\n\nN: First performance of the season\n\nR: Not unexpectedly the Herald thought it \"needless to descant here upon the merits and talents of the Company\" (NCH 25.3.1865). The same pieces had been given on May 15, 1860.\n\n23.3.1865 (Thur)\n\nM. BARNETT: \"The Serious Family\" (1849)\n\nT: Comedy (3 acts)\n\nJ.R. PLANCHE: \"The Invisible Prince\" (1846)\n\nT: Extravaganza (1 act)\n\nC: Lewis' Australian Drama Company\n\nTh: Lyceum Theatre\n\nR: Lewis' Australian Drama Company had come back to Shanghai in early March (NCH 11.3.1865) for a second season of farce and comedy, but owing to difficulties in reaching an agreement with the Lyceum Theatre about the rent that was to be paid, the first night took place only on March 23 (NCH 18.3.1865). For the members of the Company see Survey; most of them appeared on the first night in The Serious Family. According to the Commercial Record (25.3.1865) \"the acting was very equal throughout and the admirable manner in which the different actors and actresses assisted one another contributed largely to their success\" - which seems to be a rather meaningless comment. The Invisible Prince, too, was put on the stage effectively and the mise en scene was very good.\n\n27.3.1865 (Mon)\n\nW.B. GILL: \"Which is Which?\"\n\nT: Farce\n\nL...",
        "txt_file_path": "txt/dfo323lmgvd/RAS-1989.txt",
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    },
    {
        "id": 211841,
        "series_id": 26,
        "series_slug": "histsyn-rashkb-journal-engine",
        "series_title": "RASHKB Journal 皇家亞洲學會香港分會學刊",
        "series_use_hku_proxy": false,
        "document_key": "RAS-1989",
        "page_number": 256,
        "title": "RAS-1989",
        "content_text": "231\n\nattitude to such interpolations, 13.2.1863). The qualities of most players have already been touched upon; others were JOHN EDOUIN, “a capital dancer\"; his sister ROSE EDOUIN who, in burlesques, was \"not to be overlooked; there is a style about her which commands and her gesture is sufficiently theatrical to impose upon her audience where a little less or a little more demonstration might have failed.\" Mr. W.B. GILL whose acting was not \"thoroughly under command\", nevertheless had \"his place marked out for him and we hope some day to see him take up a leading position as a low comedian\". On the other hand Mr. ANDREWS was a useful actor who is careful in his parts does not do more than he needs to do\". The Company had had tolerably good houses and their departure was regretted for it was felt that Shanghailanders had seen \"perhaps the best company East of the Cape\". It went on to Foochow, Amoy and other southern ports. (SCR 5.5.1865).\n\n6.5.-12.5.1865\n\nTwo concerts by Mr. and Mme Simonsen (violin and singing resp.)\n\nTH N.N.\n\nR: For the first time since August 1863 Martin SIMONSEN came to the port, with his wife who was a singer, after recitals in Hong Kong. Rather disappointingly the first two concerts “did not draw very large houses\", but \"they were warmly applauded by all who listened to the spirit-stirring sounds of Mr. SIMONSEN's violin and the melting tones of Mme SIMONSEN's voice\", (NCH 13.5.1865).\n\n8.5, 1865 (Mon)\n\nPELHAM HARDWICKE: (= C. MATHEWS) \"A Bachelor of Arts\" (1853) T: Comic drama (2 acts)\n\nJ.M. MORTON: \"The Two Bonny Castles\" (1851)\n\nT: Farce (1 act)\n\nC: Amateurs of the Shanghai Volunteer Corps\n\nTh: Lyceum Theatre (1)\n\nR: According to both the Herald and the Record the pieces went off successfully (NCH 13.5.1865; SCR 22.5.1865).\n\n17.5.1865 (Wedn)\n\nConcert by Mr. and Mme Simonsen\n\nTh: Lyceum Theatre (1)\n\nR: In order to draw more people the admission charge at the Lyceum Theatre had been reduced to $3 with the result that a \"full audience was present” (NCH 20.5.1865). No programmes of these concerts were published.\n\n20.5.1865 (Sat)\n\nConcert by Mr. and Mme Simonsen, with the Band of the 67th Regiment.\n\nProgramme:\n\n\"Kathleen Mavourneen\" (song), **No not I** (song), C.A. de BERIOT: “Air varié”, N. PAGANINI: \"Carnival of Venice\", C.M. von WEBER: \"Aufforderung zum Tanz”, \n\n'Monastery Bells\", \"Valse de concert\" (song).\n\nTh: Lyceum Theatre (1)\n\nR: This was the last concert given by the SIMONSENS in Shanghai. According to the Shanghai Commercial Record it was a great success. Mme SIMONSEN sung the song \"Kathleen Mavourneen\" which \"literally “brought down the house\" (this must have been an exaggeration), after which she gave with great effect a very charming little skittish song “No not I'\". Her husband repeated some of the pieces he had performed seven years earlier (October 1858); Paganini's \"Carnival of Venice\" (with which the critic was \"not so much pleased\") and the variations by De Bériot. In addition \"he introduced one or two movements [into the Carnival of Venice? – JH] which we have",
        "txt_file_path": "txt/dfo323lmgvd/RAS-1989.txt",
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    },
    {
        "id": 212081,
        "series_id": 26,
        "series_slug": "histsyn-rashkb-journal-engine",
        "series_title": "RASHKB Journal 皇家亞洲學會香港分會學刊",
        "series_use_hku_proxy": false,
        "document_key": "RAS-1990",
        "page_number": 23,
        "title": "RAS-1990",
        "content_text": "240, 16\n\n240, 35\n\n241, 2\n\n242, 19\n\n\"21.2.1863\"\n\nAdd \"26.11.1864\"\n\n\"H.J. Byron\"\n\n\"see p. 176\"\n\nfor \"Church Road\" read \"Church Street\"\n\nfor \"Star House\" read \"Astor House\"\n\nAdd \"Trussler, Simon (ed): 'Burlesque Plays of the 18th Century' London, 1969\"\n\n\"MacLellan\"\n\n244\n\n246, 38\n\n246, n2\n\n247, n3\n\n248, n56\n\n251, n128\n\ndelete\n\ndelete and replace with \"see, e.g. J.H. Haan, 'Origin'\"\n\n**28.12.1861**\n\n**27.2.1864**\n\n+\n\n251, nl47\n\nFor those of these mistakes which are his responsibility, the Hon. Editor herewith apologises.\n\nxxii\n\nP. H. HASE",
        "txt_file_path": "txt/dfo323lmgvd/RAS-1990.txt",
        "external_url": "https://digitalrepository.lib.hku.hk/catalog/d79206299",
        "rank": 0
    },
    {
        "id": 212742,
        "series_id": 26,
        "series_slug": "histsyn-rashkb-journal-engine",
        "series_title": "RASHKB Journal 皇家亞洲學會香港分會學刊",
        "series_use_hku_proxy": false,
        "document_key": "RAS-1992",
        "page_number": 51,
        "title": "RAS-1992",
        "content_text": "36 \n\nsomething more than ordinary adventure.' \n\nAgain, after a theatrical performance by a Chinese actor and actress in a provincial town in Kueichou province, Mesny wrote that local people, believing him [he was then 36] to be very old as he had a beard, knew that foreign women must be inferior; \"They must be, “they added\", as foreign men pass by but never foreign women, and foreign men marry Chinese wives.' Mesny added that he had one 'with very small feet and wears elegantly embroidered red satin shoes!' This must have been in 1878. \n\nWriting a paragraph under the heading of 'Slave Girls', Mesny noted that it was a common thing for well-to-do people to present a couple of slave girls to a daughter as part of their marriage dowry. It was also customary with respectable people to release slave girls when marriageable. Mesny added that he had bought three different girls, two in Szechuan, for a few taels each [less than 15 dollars Mexican]. One he released in Tientsin, another died in Hong Kong; the other he gave in marriage to a faithful servant of his. \n\nIn his Miscellanies he described a number of Chinese women, young and beautiful, who [or so he claimed] desired to marry him. Some he encouraged but in each instance the story peters out, others disappear out of his stories without explanation or further mention. He also had a 'romantic and intimate interlude' with a young Chinese widow, who did not appear to be short of money, and who accompanied Mesny down river to Hankow where they remained in a house near the Yamen where Mesny frequently visited her. He noted at one point that 'there was nothing like gushing love between us, but I could not fail to admire such an admirably sensible woman. What she thought was admiring in me I know not, but I know she said from the first that she required my protection. The only time that I ever noticed anything like affectionate love on her part for me was on my first visit to her after my misadventure at the Lung-wang Miao\". Then she wept. She took my head very gently between her fine hands and repeatedly kissed the fresh scars of my recent wounds... we were both silent.' Despite this, he shortly afterwards described in the Miscellany that he, Mesny, 'had been busy at work and with his friend Pickerell, and paid frequent visits to my charmer near the Tao-t'ai's Yamen. She complained of the scarcity and brevity of my visits and showed unmistakable signs of being in a condition likely to increase the already great population of the vast empire of China.'",
        "txt_file_path": "txt/dfo323lmgvd/RAS-1992.txt",
        "external_url": "https://digitalrepository.lib.hku.hk/catalog/qf85tx75x",
        "rank": 0
    },
    {
        "id": 212862,
        "series_id": 26,
        "series_slug": "histsyn-rashkb-journal-engine",
        "series_title": "RASHKB Journal 皇家亞洲學會香港分會學刊",
        "series_use_hku_proxy": false,
        "document_key": "RAS-1992",
        "page_number": 171,
        "title": "RAS-1992",
        "content_text": "156\n\nThe Abraham Family\n\nEleazer Joseph Abraham\n\nDavid Ezekiel Joshua Abraham\n\nDavid Abraham Reuben m Ruby Moselle (1890-1982)\n\nEzekiel\n\nJoseph\n\nIsaac\n\n1\n\nAziza\n\nof the Jewish community, and served it well. His son, Ezekiel Abraham, recalled how the Jewish community had rallied to succour the refugees from Eastern Europe and Germany in 1938 and 1941 when some 17,000 to 18,000 refugees found their way to Shanghai.\n\n\"The Japanese commander had called in R.D. Abraham, as leader of the Jewish community in Shanghai, to tell him that a shipload of Jewish refugees had arrived. 'We cannot let them land,' said the Japanese. 'Why?' Abraham wanted to know. 'There is no place for them to live, and the refugees have no money to feed themselves,' reasoned the Japanese. 'In that case,' said Abraham, thoughtfully, without a smile, 'you will just have to shoot all of them, because there is no other place on earth for them to go.' Then he paused for a few moments before confiding in the Japanese, 'or, we can open the Sassoon warehouses in Hongkew and let the refugees live there, and put them to work in the factories.'\n\nGhe Ezras\n\n+15\n\nEdward Ezra switched from the opium trade to large-scale real estate construction and management in 1900. He erected - on the land bounded by Nanking, Kiujiang, Szechwan and Kiangse Roads - 1,000,000 taels worth of residences that enjoyed modern amenities. His own home on Joffre Road boasted a ballroom and a music room. The family interests included hotels. The Astor House Hotel, on Broadway and Whangpoo Road, occupied three acres of ground. Edward Ezra, who was a Director of Astor House, was the first person born in Shanghai and educated at the Shanghai Public School to be elected to the Municipal Council. Socially linked to the Sassoons from the beginning by marriage, today",
        "txt_file_path": "txt/dfo323lmgvd/RAS-1992.txt",
        "external_url": "https://digitalrepository.lib.hku.hk/catalog/qf85tx75x",
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    },
    {
        "id": 212966,
        "series_id": 26,
        "series_slug": "histsyn-rashkb-journal-engine",
        "series_title": "RASHKB Journal 皇家亞洲學會香港分會學刊",
        "series_use_hku_proxy": false,
        "document_key": "RAS-1993",
        "page_number": 34,
        "title": "RAS-1993",
        "content_text": "13\n\nand upon a good showing in this capacity he may win further good opinion and treatment from fellow neighbours or, in short, bigger face. But on the other hand, if he throws rubbish casually in the district, he may be despised, his neighbours may refuse to talk to him until he changes his behaviour.\n\nIn short, the dynamic quality of face does not reside solely in individuals. It varies with the status and performance of an individual, the treatment he receives and the performance of individuals relevant to the interaction. The possession of and the amount of face predicate on the judgments of his total condition in life, including his actions, those of people closely associated with him, and the social expectations that others have placed upon him (Ho, 1975: 883),\n\nThe Attributes of Face: Honour, Influence And Deference\n\nThe dynamic qualities of face can be seen in the light of honour, influence and deference. If a person has a lot of face, he would have a lot of honour, influence and deference, or any one of these. An actor who wins a lot of fans is successful in his career. His status in the movie business and role performance belong to the higher rung. He will have face or big face, and thereby honour, influence and deference (for illustration, please refer to Figures 1 and 2).\n\nTake Jacky Chan of Hong Kong as an example. His movies often see full house in cinemas and top audience rating lists, which means that others' reactions are also favourable. With success in the movie business, he has won places in Most Achieving Youth Awards, he has been named to honorary chairmanship in various organisations etc. This is honour for him, since his success is being recognized by people in other fields.\n\nHis influence may be felt in society. A person may go to a hairdresser and tell him to cut a Jacky Chan's style for him. Some people may dress themselves in a special way just because 'Jacky Chan does that'. If he illegally parks his car on the road, he may be stopped by a policeman. But upon recognizing him as Jacky Chan, the policeman may not fine him. In short, honour, influence and deference can be purchased or obtained by a person with face (King and Myers, 1977: 9-10). Bigger face would mean greater purchasing power for honour, influence and deference. Hence it would be more advantageous to have a bigger face than a smaller one.",
        "txt_file_path": "txt/dfo323lmgvd/RAS-1993.txt",
        "external_url": "https://digitalrepository.lib.hku.hk/catalog/66833t302",
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    },
    {
        "id": 213479,
        "series_id": 26,
        "series_slug": "histsyn-rashkb-journal-engine",
        "series_title": "RASHKB Journal 皇家亞洲學會香港分會學刊",
        "series_use_hku_proxy": false,
        "document_key": "RAS-1995",
        "page_number": 75,
        "title": "RAS-1995",
        "content_text": "43\n\nTHE PEKING OPERA\n\nD.H. LIU\n\nIt may sound strange to many that the Peking Opera originated, not from Peking, as it is generally believed, but from the obscure county towns of Huang Po (黄陂) and Huang Kong (黄冈) in the Hupeh Province on the upper reaches of the Yangtze River. From its early beginning as local, folk song amusement of surrounding areas, it gradually gained popularity and traveled beyond the provincial boundary to Peking where it settled down and prospered during the reign of Emperor Chien Lung (A.D. 1751-1795)\n\nAs the troupe travelled on its way to Peking, it absorbed many of the methods and techniques of different theatrical groups, notably, the K'un Chu (昆曲) and the Hwei Ban (徽班) with one sole dogma it has persistently adhered to the original dialect of the Hupeh Province in its performance up to the present day.\n\nThe Stage in the Early Times:\n\nAt the beginning, the stage was a very simple structure with no proper sitting arrangement for the audience. People would sit around a square-shaped table with two persons on each side. I remember that, when I was a boy, the first theatre we had in Yienta (烟台) where I was born, was called the Tan Kwei Tea House (谭家祠茶馆). People went there to watch the opera and at the same time, enjoy a cup of tea. Why not? People were out to enjoy themselves. I still remember how people would enter the theatre and leave it at will. You sat at the table watching the play, drinking Chinese tea and cracking melon seeds, all at the same time. You will say that this would divert the attention of the audience from what was going on on the stage. Why worry? If the actor or actress was good, the audience, of course, would automatically stop drinking tea and pay close attention to the stage!\n\nI still remember that, in those happy days, the theatre waiters would throw a hot towel to you from a distance of ten feet to wake you up when you were tired. What a wonderful idea!\n\nPage 75\n\nPage 76",
        "txt_file_path": "txt/dfo323lmgvd/RAS-1995.txt",
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    },
    {
        "id": 213482,
        "series_id": 26,
        "series_slug": "histsyn-rashkb-journal-engine",
        "series_title": "RASHKB Journal 皇家亞洲學會香港分會學刊",
        "series_use_hku_proxy": false,
        "document_key": "RAS-1995",
        "page_number": 78,
        "title": "RAS-1995",
        "content_text": "46\n\nThe Play Writers of the Peking Opera\n\nMost of the early play writers of the Peking Opera were uneducated men with little knowledge of Chinese history. Some of the cues used in the play are risqué, vulgar and very, very rough. We do have our own Shakespeares in the T'ang or Sung Dynasties and their plays are among the best written literature of the times, but the general public would not go to their shows because they could not understand the literature - and the plays died a natural death. It is exactly the rough language of the later age that the people could understand, that made them flock to the theatre to see them.\n\nSome of the Funny Things You See in the Peking Opera\n\nWhy should a man's whiskers be three feet long from his chin almost to his knees? Why should an official, or a warrior, or a country squire wear such clumsy shoes with paper soles about two inches thick? Human nature! Once I heard an American cut an album whose main theme was:\n\n\"Anything you can do, I can do better.\"\n\n11\n\nFrom the very beginning, we didn't have any sharp art critics who would condemn these anomalies. Theatre, like politics, if not held in check at the beginning, can be a dangerous thing.\n\nThe Prop and the Gesture\n\nYou will notice that all Chinese theatres have a scarcity of theatre props. They make use of certain movements of the body or gestures to indicate any situation or event. This is because it is much cheaper. For instance, you cannot bring a horse to the stage, so the actor holds a horse whip (an ornamental one) to indicate that he is riding a horse. The following are more examples of the same:\n\n(1) when the actor enters a house, he lowers his body, and steps over something. That means \"stepping over the threshold.\"\n\n(2) when he enters the room, he makes some movements with both hands in the air. That means \"latch up\" or \"lock up\" his room.\n\n(3) if he holds a candlestick, or if someone else carries a paper lantern, it shows that it is night time.",
        "txt_file_path": "txt/dfo323lmgvd/RAS-1995.txt",
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    {
        "id": 213483,
        "series_id": 26,
        "series_slug": "histsyn-rashkb-journal-engine",
        "series_title": "RASHKB Journal 皇家亞洲學會香港分會學刊",
        "series_use_hku_proxy": false,
        "document_key": "RAS-1995",
        "page_number": 79,
        "title": "RAS-1995",
        "content_text": "(4) if he treads \"in the air\", this means ascending the staircase. (5) when two men are holding an oar - this indicates the existence of a pontoon bridge for someone to use it to get to a nearby boat or sampan.\n\n(6) two big flags, each bearing the imprint of a wheel, held by a man or woman in each hand, with a noble lady in the middle, indicates that the lady is sitting in a chariot.\n\n(7) punishment or degradation of an official or scholar is indicated by \"taking away his hat\".\n\n(8) if a man wears a heavy balaclava, that means he is on a long distance trip or in severe cold.\n\n(9) there is no eating scene in Peking Opera. Drinking wine is denoted by raising the wine cup, with the right hand, to the lip, and hiding the movement by raising the sleeve of the left arm.\n\n(10) a man without a hat, constantly swinging his hair from side to side or tapping his finger on his forehead, or the constant rubbing of hands means he is in trouble and does not know how to get out of it.\n\n(11) why does an important figure walk from the back of the stage to the centre in a funny gait? This is because the Chinese theatre usually has no curtain, as the Western theatre does, so he has to perform the action in a dignified way.\n\n(12) wiping the eye with the sleeve denotes that the actor or actress is weeping or crying. I don't know why, but possibly handkerchiefs were not used in China in former times.\n\n(13) you will find that, in some of the play, a chair is used to represent the front door of a house or cave house.\n\n(14) a painted cloth screen, with an opening in the middle, represents the city wall and the entrance to the city.\n\n(15) you never see a man sleeping on a bed with a pillow. To portray that he is sleeping, he always sits upright in a chair, with his day clothing on, behind a cloth screen.\n\nThe Painted Face Actors\n\nHow much do you know about these painted Faces? From behind these facades, how much can you make out of it, to foretell the kind of character or personality of the man the actor is trying to represent on the stage? The following few hints maybe of help for you to understand the character of the man in history that the actor is portraying.",
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