Kungfu fighting

Fu Manchu and the White Boss

Fu Manchu, in Who's Watching Fu Manchu.

joint play presentation, English and Mass Comm Departments, at Science Library Theatre, on May 7, 2005

more about Fu Manchu

http://www.illuminatedlantern.com/cinema/features/fumanchu.html

Originally published in The Illuminated Lantern Issue 5, October - November 2000.Written by Peter Nepstad.

The Yellow Peril
In exploring Asian cultures through cinema, we must at times turn away from the cinema of the region and focus instead on the explorations of Asian cultures in Western cinema. These 'western visions' of Asia are at times entertaining, at times fascinating, at times repulsive, and almost always bizarre. They reveal more about Western culture, societal mores, and xenophobia than anything even remotely Asian. The question that must be asked then, is where did these ideas come from, that are portrayed so consistently in Western cinema?

But first, we must narrow the scope of our investigations. For 'Western' cinema, we will look predominantly at America, home of Hollywood. Asia is a big place, and by 'Asian' I suppose I must mean the same thing that 'Oriental' would have meant at the turn of the last century, which is, any country from Egypt through India and at last to the far east of China and Japan. All have problematic representations in Western Cinema. The representation of Asian-Americans (or rather, the complete lack thereof) forms another subset of the discussion. I propose in this article to discuss specifically Chinese representations in Western cinema, focusing first on the primary channels through which the west has historically come to 'know' the east, then on the tradition of 'Yellowface' acting which allows the west to play act their knowledge thus gained, without the interference of reality, and finally to explore the 'Fu Manchu' series of films as the most prominent example of these visions in Western cinema. Even with this narrowed scope, however, it will be necessary to occasionally turn to Asian-American, Japanese, Vietnamese, and Korean representations anyway, because of the Western tendency to confuse and blend the various cultures together.

The original Yellow Peril: Attila the Hun and his mongol horde, swooping through Europe in the 5th Century BC, displacing peoples such as the Ostrogoths and Visigoths, who then in turn pushed into the Roman Empire and sacked Rome. All of Europe lived under the shadow of invasion for some fifty years, until Attila dropped dead, the Huns dropped back, and the threat of invasion faded. But the image remained, reinforced by the later incursions of Genghis Khan: picture the Golden Horde, vicious, demonic peoples whose way of life is utterly foreign, who seem to have inhuman courage and endurance, who do not feel pain, who know nothing of the rules of war and do not take prisoners, who rape and pillage, who are invincible and unstoppable. Hold on to this image, as we now need to take it in its entirety and transpose it onto nineteenth-century America, where the idea of the Yellow Peril once again took root in Western society.

Chinese first immigrated to America in large quantities when reports of the California Gold Rush reached coastal China in 1849. Immigration reached its gold rush peak in 1852, when over 20,000 Chinese, mostly farmers from around the Canton area, headed over to work mines in search of gold. The immigration slowed drastically afterwards, until the late 1860s, when Chinese papers advertised looking for workers on the railroad, and the rush was on again.

With such a large number of immigrants in California, China could no longer be simply an exoticized and distant 'other.' So Chinese instead became a clear and present danger. California strongly wished to enter the Union as a Free State, that is, one without slavery, and it did so. Perhaps less widely known is that it wanted no blacks, free or slave, in the country, and instead keep California a pure, white land. Attempts were made to legally restrict entrance of California to only free, white people, some successful, some not. Although the debate began as black/white issue, it soon became clear that the Chinese would be a greater threat to California's ideal of a pure white land (in the 1850s, when California had only 4000 black residents, there were 47000 Chinese). At the same time, small mines were being pressured out of business by larger mining operations. Those Chinese who still worked various private mines became the outlet of white anger, and blamed for lost jobs. In 1854 the California Supreme Court ruled that the Chinese could not testify in court in any case in which a white person is a party. The threat of the Chinese to the working class and their jobs continued to be a constant theme up through the early 20th Century.

Having been driven out of mining and agriculture, and laid off as work on the trans-continental railroad came to a close, the Chinese immigrants moved into other work, such as manufacturing, laundering, and domestic occupations, running head first into another minority group: the Irish. The Chinese would often take lower wages than the Irish workers, and many employers found them by and large to be a far superior working group to the Irish, cleaner, more hard working. But the leaders of the Irish community took the opportunity to attempt to raise their own status in Anglo-Saxon society, by promoting a sort of pan-ethnic whiteness, defining Irish and Anglo-Saxon peoples to stand together in a 'white' category, as separate from 'black' or 'yellow' races. They used the imagery of the Yellow Peril -- legions of Chinese sweeping into the country, taking away the good honest work of the white man. They were for the most part very successful. Even today in America, the lumping together of all white races is done as a matter of course, without thought.

American legislators became obsessed with stemming the oriental tides that they feared would soon overtake them. In 1790, the Naturalization Act explicitly stated Naturalization as a citizen was only possible for "free white persons" only. This did not necessarily exclude Asians, as many people considered the Asiatic races to fall into the 'white' category (at least, George Washington did). In 1870, the abolition of slavery prompted a change in the wording, and it was amended to include persons of African descent. It was also amended to specifically exclude persons from China. In 1882 the Chinese Exclusion Act was passed, banning not only Naturalization of peoples from China, but immigration as well. It allowed for some loopholes, which were quickly closed up with an 1884 amendment. Ironically, just a couple years later, the Statue of Liberty is unveiled in New York City.

Having stemmed the illusory tide, there was still the question of what to do with the Chinese immigrants already residing in the United States. Race riots in San Francisco and elsewhere made it clear that they were seldom welcome. They represented another facet of the Yellow Peril: the threat of miscegenation. Immigration policy kept the amount of Chinese women at a bare minimum, in an attempt to discourage immigrants from permanent residence. At the same time, coincedentally, far more Irish women survived the potato famine and immigrated than did men. Their prospects for finding a suitable Irish man rather limited, then, a statistically insignificant few did in fact marry Chinese men. Even this small amount was unacceptable to the Irish community, trying at that time to create a clear color line between the two races. In fact, the term 'micegenation' was coined by Irish pamphleteers decrying inter-racial marriage (the earlier term, 'amalgamation,' was not as negative as apparently they wanted it to be). Even today, the threat of miscegenation looms. In American cinema, although white men are often romatically engaged with asian women, only very, very rarely will you see an asian man and white woman romantically involved with each other, and even then the relationship is seldom demonstrated explicitly. A vast hoarde of the unknowable other, poised to take over our jobs, our women, our country. This is the image of the Yellow Peril, set in the latter half of the nineteenth century. It would prove to be a remarkably resilient vision, which has lasted up until the present day. The next section will explore the transformations of the Yellow Peril myth in the twentieth Century.


The Yellow Peril Meets the Red Menace
As the nineteenth century ended, America suddenly changed, becoming a small empire after the Spanish-American war, with Spain ceding Cuba, Puerto Rico, Guam, and the Philippines to the United States. Guam and the Phillipines, especially, were strategically significant, giving America coaling stations for its fleet in the Pacific, and giving it a close base from which to watch the Yellow Peril of Asia. But instead of calming fears, it heightens them -- the thought of making the Philippines, or any of the other territories, states of the union, becomes a way in which millions of 'dark or yellow-skinned' peoples can enter the United States, become a corrupting influence, and destroy the way of life of its citizens. Of course, immigration was again tightly restricted. Then in 1905 fears of the Yellow Peril became all too real, when the Japanese smashed the Russian fleet and forced them into a treaty, ending the Russo-Japanese War with a resounding victory for the Japanese. It was the first time an Asian military power bested a Western power, and the entire world took notice. For a while, Japan had special exemption from immigration restrictions into the United States. Instead, in 1907 Congress asked that Japan 'voluntarily' stop giving visas to Japanese trying to emigrate to the states. But by 1917, an 'Asiatic barred zone' has been created, preventing immigration of any Asian or Pacific Islander. In 1922, the U.S. Government further enacted fear of the Yellow Peril as law, passing the Cable Act, which revoked the citizenship of any woman who married a foreign national. World War II: China ostensibly becomes an ally, and Japan the enemy. The Japanese are demonized and persecuted, rounded up in internment camps. LIFE magazine publishes a description of the difference between Chinese and Japanese, to help budding racists identify who to hate, with such unbelievable items as "The Chinese have parchament-yellow complexion...while Japanese have an earthy yellow complexion." An important component of the Yellow Peril myth is the dehumanizing of the 'other.' In this case, the Japanese are seen as 'unable to feel pain the same way we do,' to be deadened to pain, and by extension to inflict the cruelest of tortures on his victims. The same was said of the Mongol hoardes, the same too of San Francisco chinamen, one of whom a doctor studied and concluded that "their nerve endings are farther inside their skin than ours...and so more resistant to pain."

With the end of World War II and the resounding defeat of the Japanese, it seemed the idea of the Yellow Peril had run its course. But another fear was rising to replace it: the Red Menace. Russia was an ally during the war, but afterwards it became clear who the next enemy of American domination would be. The communist Russians seemed in direct opposition to the beliefs of America. In fact, it was the threat of communism swallowing up more and more governments that prompted many of our equal rights laws passed here in the United States. By making the U.S. more open and more free, it was hoped that the States would represent a clear alternative to Communism. But then China fell to Communism, and the Yellow Peril was reborn, combined with and heightened by the Red Menace. The Korean War, then the Vietnam War, worked to continue to keep images of the Yellow Peril alive, as conflict with Asians in foreign wars began to replace competition with Asians for jobs at home as the primary lens through which America viewed the far east. In the 1980's, focus shifted back home again, to the threat to working class jobs by Japanese competition. The Japanese economy was booming, and their products outselling American products. Japanese companies bought numerous American companies, golf courses, and so on. Americans resisted what they saw as a 'foreign takeover.' Many saw the corporate buy-outs as a continuation of the Japanese attack on Pearl Harbor fourty years earlier. Commercials aired which encouraged people to buy products 'Made in the USA.' Japanese cars were smashed with sledgehammers in demonstrations. The threat of the Yellow Peril in America came full circle, once again imagined as a threat to the stability of working-class Americans. The Yellow Peril has been represented in American media since its very beginning. From songs, to minstrel shows, to books, to movies. Perhaps the most famous of these representations comes not from America but from England, and the story of this character is explored in the following section.


Fu Manchu: The Yellow Peril Personified
In 1912, readers were first introduced to the evil Fu Manchu, a Western educated Chinaman with designs on world domination and the destruction of the west. His foil is Sir Denis Nayland-Smith of Scotland Yard, an orientalist who shows mastery over Fu Manchu and by extension all of Asia through his knowledge of their mysterious rites and rituals, and Dr. Petrie, who serves as the readers stand-in, to whom Nayland Smith may explain the Orient and thus establish his credentials. The writer, Arthur Henry Sarsfield Ward, known to the world by his pen name, Sax Rohmer, was an irishman living in London, and had no secret political agenda. Rather, he was simply able to encapsulate and reflect the uncertainties and fears the working class had against the foreigners in their midst. England had long since caught the Yellow Peril paranoia wafting over from America. Sax Rohmer would give a name to the peril, and export it back to the states, where it would be a smashing success and provide him with a steady cash flow. The final total of his earnings for the Fu Manchu books came to around two million dollars. Later in life, he moved closer to his fans, to New York, where he continued to write stories of Fu Manchu until his death in 1959. Nayland Smith describes Fu Manchu to Dr. Petrie in the first novel:

"Imagine a person, tall, lean and feline, high-shouldered, with a brow like Shakespeare and a face like Satan, a close-shaven skull, and long, magnetic eyes of the true cat-green. Invest him with all the cruel cunning of an entire Eastern race, accumulated in one giant intellect, with all the resources of science past and present, with all the resources, if you will, of a wealthy government-- which, however, already has denied all knowledge of his existence. Imagine that awful being, and you have a mental picture of Dr. Fu-Manchu, the yellow peril incarnate in one man." Besides the inhuman picture (much like depictions of the Japanese during WWII), what makes Fu Manchu a villain all the more monstrous is two things: his proximity to the west, and his intellect. His base is in Limehouse, the Chinese area of London. So by allowing him to live in the country, England is vulnerable to his insidious plans (and so becomes a validation of strict immigration policy). His intellect comes from Western learning, and it is often emphasized that he has been educated in a university. So we see the evil asian as using the west's own knowledge against it (much like comments made in the press about Japanese businessmen using knowledge of western economics to stage takeovers in the 1980s). Implicit in this is the idea that such learning can only come from the West, the Orient being incapable of such learning. It is up to Nayland Smith and Dr. Petrie to stop Fu Manchu's plans in each story. As Smith remarks in The Hand of Fu Manchu, "the swamping of the white world by Yellow hordes may be the price of our failure." The books themselves are of varying quality, ranging from exciting and crisp to barely readable. Ultimately, they are pulp novels, and can be enjoyed as such, and can be read not only as engaging mystery/horror novels but as cultural artifacts which can help to map a compicated and ongoing racial dialogue between East and West. When it came time to present Fu Manchu in the movies, the question arose as to who would play the sinister villain? The answer, and possible reasons for it both then and now, take up our next section.


Yellowface
The minstrel shows of the nineteenth century, in which comic skits were played depicting every racial stereotype imaginable, can be seen as a direct precursor to yellowface acting in film. The minstrel shows would encourage audiences to laugh with some stereotypical characters, laugh at others. They compared and contrasted unacceptable, non-assimilating groups such as African-Americans and Chinese with funny but acceptable Irish, German, and English stereotypes. In the 1850s, almost every minstrel show had at least one yellowface act, and San Francisco a major stop on the minstrelry circuit. The character of "John Chinaman" typically illustrated the reasons why Chinese were not assimilable, and therefore have no real right to citizenship or a voice in America. Three characteristics were almost always present in John Chinaman: poor, pidgin English, which is mocked as nonsense; disgusting and transgressive eating habits, wherein dog, cat, and rat are eaten; and the queue, which, since white men of that time all had short cropped hair, represented a gender transgressive element and therefore dangerous. A short minstrel song will suffice to illustrate two of these three characteristics:

Lady she am vellie good, make plenty chow chowShe live way up top side house,Take a little pussy cat and a little bow wowBoil em in a pot of stew wit a little mouseHi! hi! hi!Most importantly, yellowface minstrelry was a means by which people of the working class could safely view the unknowable oriental. To view an actual oriental would be possibly polluting and offensive to the audience. The yellowface minstrel was a 'safe' way for white Americans to create, codify, and confirm a racial stereotype, without the interference of an actual oriental to possibly confuse the matter.

Hollywood yellowface was not necessarily as calculated as that, but it may have been. Asian actors did find work in silent movies, but the move to talkies made it more difficult for them, especially if their accent was too strong or not clear enough. It was for this reason, perhaps, that Warner Oland was given the role of Fu Manchu in the first Fu Manchu talkie, The Mysterious Dr. Fu Manchu. Scenes are very stationary, everyone clustered close together to make sure they were on mike. Oland spoke quite clearly (and without a Chinese accent). His features were vaguely Chinese, even though he was Scandanavian. For these reasons, Warner Oland may perhaps rank as one of the least offensive yellowface performers. But there are more, many more. Long after poor sound equipment could be an excuse, white actors continued to play asian roles. This has been a frustration and impediment to Asian and Asian-American actors since Hollywood's beginnings. Part of the reasoning for these casting decisions are rooted in the minstrel shows and in America's century of Yellow Peril paranoia. Films in which a Chinese man threatened to rape or have a romantic relationship with a white woman would have been too much to bear for audiences, had the actor playing the asian actually been Chinese. By substituting a white actor in yellowface, the audience can experience outrage at the story, but at the same time be soothed by the fact that it is not real. Once again, like John Chinaman in minstrel shows, the yellowface actor plays out white fantasies of race in a safe environment. Yellowface performances can be unbelievably offensive, completely unnecessary, or absurdly unreal. Sometimes, they are entirely respectable, like the above mentioned Warner Oland as Charlie Chan, or Peter Lorre as Mr. Moto. And sometimes, perhaps, they are somehow necessary. Like in the case of Fu Manchu. I feel the role of Fu Manchu is appropriately played in yellowface. Warner Oland, Boris Karloff, and Christopher Lee all play the role to perfection. The secret in their success is this: Fu Manchu, the character, is in no way Chinese. As a personification of the Yellow Peril, Fu Manchu is the personification of the West's irrational fears and phobias. He is a rare mirror, through which we can see the pathetic characature of the Oriental that exists in the minds of so many Americans throughout history. By being a white actor in yellowface, the character's illusory, fantasy quality becomes underscored. Like children who playact as doctors and nurses, Fu Manchu is the outward representation of the childish playacting of a nation. Watching movies which feature yellowface actors is sometimes fun, sometimes offensive, but always educational. In the next section we take a look at some of those films.


"The World Shall Hear from Me Again"
To discuss all western films which depict the asian as Yellow Peril would be far beyond the scope of this humble article. Instead, I narrow it down to the movies of Fu Manchu. In addition to the nine films listed here, the 1950s serial The Drums of Fu Manchu should also be mentioned, as well as the 1980s Peter Sellers comedy The Fiendish Plot of Fu Manchu. Completists must, for now, do without an analysis of these two, the first being considered a serial and not a film (although it was later edited into a feature length picture), and the second being considered not worth the effort to add, for the moment.

Most fans of the Fu Manchu films consider Boris Karloff's Mask of Fu Manchu to be the best, and he surely is the top in terms of demonic, monstrous evil. But for my money, the best Fu Manchu has to be Christopher Lee. Somewhat wooden, a weird, occasional accent, strange gestures, and really poorly written lines somehow just add to my enjoyment of his performance. The fact that he is the most hulking, gigantically tall Chinese man I have ever seen outside of Yao Ming, makes it even better. Humorously enough, Sax Rohmer's widow, on the set of The Face of Fu Manchu, claimed that Christopher Lee was the 'spitting image' of the man Sax Rohmer saw in London's Limehouse district so long ago, the man that became the inspiration for the character of Fu Manchu.

The Mysterious Dr. Fu ManchuFu Manchu is just minding his own business during the Boxer Rebellion when Major Petrie fires on his house, killing his family. Naturally, he seeks revenge. Warner Oland, soon to be Charlie Chan, plays the angry Fu.
The Return of Dr. Fu manchuFu Manchu continues his quest for revenge against the Petrie family, though one begins to wonder if they are really worth the bother.
Daughter of the DragonAnna May Wong discovers she is Fu Manchu's daughter, and immediately follows that discovery up with plans for murder. Death to Petrie!
The Mask of Fu ManchuBoris Karloff as the most demonic Fu Manchu before or since. He seeks the tomb of Genghis Khan, and puts people in elaborate torture mechanisms for the sheer pleasure of it.
The Face of Fu ManchuChristopher Lee takes his turn as the evil Fu, threatening Nayland Smith with a heaping dose of mayhem and death.
The Brides of Fu ManchuFu Manchu invents a ray of energy, which he calls a "laser," which will beam death upon untold millions. Meanwhile, he entertains a bevy of scantily clad beauties.
The Vengeance of Fu ManchuChristopher Lee as Fu Manchu sets up camp in a remote part of China, causes earthquakes, and schemes his mad schemes.
Kiss and KillFu Manchu meets Pancho Villa, sort of, in this, the unspeakably bad yet strangely compelling fourth outing for Christopher Lee as Fu Manchu. Jess Franco directs, in his own inimitable style.
The Castle of Fu ManchuI can't believe I watched the whole thing. The fifth and last Christoper Lee Fu Manchu film, driving the final nail into the series coffin, although it felt more like it was being driven through my skull.

The Insidious Dr. Fu Manchu

http://www.blackmask.com/olbooks/fumandex.htm

rundown May 7

2005英文系新生戲劇比賽暨大傳系聯合演出活動工作分配
時 間
名 稱
工 作 分 配
7:50---8:00
工作人員報到就位&開始場佈
*執行長: Hector ---嚴格控管各組排演時間.前後場場控
*場佈人員---Gina, 娃娃, Trina, Fish, Carine, Ariel, Bonnie, Jocelyn, Iris , Julia, Thomas
1工作區分隔 ---人員控管, 並告知規則
2場佈事宜--- (第一休息區&第二休息區各班的分區名條張貼 + 服務台&入口處的佈置+ 評審座位的貼條….)
*第一休息區後場人員---Julia, Bean,Gina
1. 準備進入第一休息區, 場控+聯絡各組導演, 各組需派一名聯絡人,方便後場人員計算時間, 通知各組準備上台.
2. 工作人員負責拉幕(所以要問各組setting負責人,上下道具需要拉幕的時間點.
3. 後台使用規則---參賽的工作人員需配工作證.不可以在劇場內飲食, 重物不可放在化粧台上, 需隨時保持肅靜.
4. 道具的擺放,各組有和組的位置, 演出後必須立刻歸位.

*接待人員:Ariel, Carine, 娃娃, Eddy 接待.海報 ,明信片, 書籤的發放)
*主持人Daphne, Terry 排演
各段報幕 + 評審講評 + 頒奬典禮
*內場工作人員Bonnie, Jocelyn & Iris, Trina
1. 接待師長及帶位
2. 控制內場秩序&開關大門 (兩人一組和管一個門)
3. 比賽完成時須立即收齊評分表交給*計分人員Ariel, Carine, Gina
*燈光人員小布 配合串場及頒奬禮燈光設計排演
1. 開場關燈開燈三次 (等音控音樂停止開始)
2. 主持人上場打燈
3. 每組比賽完,儀器歸零
*音控人員Jason或Thomas配合串場及頒奬禮音效設計排演
1. 進場音樂(請於13:10~13:30播放) & 頒奬音樂
2. 每組比賽完,儀器歸零
* 燈光&音效人員必須注意記錄各組的結束時間點,必須在每場表演結束前五分鐘就準備位子
*攝影Jason, Carine *休息時間是否播放影片???
*器材人員Eddy
在表演結束後, 利用休息時間在台擺設1張桌子&4張椅子.
*第二區後場人員 妙, Fish 控制秩序 + 頒奬整隊通知
1.共有七組人員,於是第二區要畫分七個休息區.(要要七張長桌??鐵椅??)
2.告知各組在比賽完成後即刻到第二休息區準備&整隊,每組排成二列, 由各組導演領隊….o
3.告知各組服裝最好能維持到頒奬禮…O ^^

8:00---8:30
大傳系第三組排演:
Shooting Paparazzi
8:30---9:00
大傳系第二組排演:
Who is playing with Fu Manchu
9:00---9:30
大傳系第一組排演:
Butterfly Love
9:30---10:20
英文系第四組排演:
Beauty & the Beast
10:20---11:10
英文系第三組排演:
Alfie
11:10—12:00
英文系第二組排演:
Charley’s Aunt
12:00 ---12:50
英文系第一組排演:
Scuba Lessons
12:50---13:10
英文系主持人排演.走位.燈光.音效

13:10---13:30
各組人員就定位位

13:10---13:30
開始入場
(入場音樂播放)
13:10---13:30
各組人員就定位位
*請各組人員自行找出空擋, 儘量在13:00以前完成午餐
13:10---13:30
開始入場
*服務台接待人員 Ariel, Carine, Eddy.娃娃
發送節目單.明信片.書籤.& 海報

13:30
活動正式開始
*進場音樂結束, 燈光三滅三亮, 主持人就位, Let’s Play…^^
13:30---13:35
兩位主持人開幕

13:35---14:05
英文系第一組
Scuba Lessons (Freshmen A. 雙號. Jason)
14:05---14:08
女主持人報幕

14:08---14:23
大傳系第一組
Butterfly Love
14:23---14:25
男主持人報幕

14:25---14:55
英文系第二組
Charley’s Aunt (Freshmen B 雙號. Zal)
14:55---14:58
女主持人報幕

14:58---15:13
大傳系第二組
Who Is Playing with Fu Manchu
15:22---15:25
男主持人報幕

15:25---15:55
英文系第三組
Alfie (Freshmen B單號 Lily)
15:55---15:58
女主持人報幕

15:58---16:13
大傳系第三組
Shooting Paparazzi
16:13---16:15
男主持人報幕

16:15---16:45
英文系第四組
Beauty and the Beast (Freshmen A 單號. Lillian & Kimmy)
16:45---16:55
兩位主持人串場
*表演完成…
*觀眾休息十分鐘
*播放音樂…

*所有表演&參賽隊伍,請速至第二休息區整隊集合.
*計分人員就定位&各參賽表演隊伍就至第二休息區整隊.
*內場人員 Bonnie, 收集評分表 交給計分人員 Ariel. 並在計分完成後將奬狀及擺協助計分
* 器材人員Eddy在休息時間時, 擺設四張椅子& 1張桌子在台上
*第二區後場人員妙,Fish七隊參賽者到第二休息區集合, 整隊入場, 由各組導演領軍負責整隊,完成後, 由內場人員Jocelyn過來通知上台時間,頒奬禮開始.
* 計分人員
Ariel & Carine 核算所有得分及獲奬名單出爐
Gina 負責將得奬名單寫在描圖紙上
娃娃 負責在已寫好得奬名單的描圖紙裝入正確的奬框
Tina & Bonnie負責將獲奬名單放入正確的揭奬信封
完成後, 分別由遞奬人員 Bonnie, Tina, Ariel,Carine將各自負責的奬項奬狀&揭奬信封送進劇場, 靜候分奬禮開始.
16:55--- 17:00
主持人主持頒奬典禮
17:00---17:30
邀請評審上台
頒 奬
&
講 評
頒奬序&遞奬人員 (English Dept & Mass Communication Dept.)
Bonnie負責遞Best Costumes & Best performer in Supporting Role à Mr. Simon
Tina 負責遞 Best Setting & Performer with the Most Potentialà Ms. Lyn Scott
Ariel 負責遞 Best Lighting & Sound Effects & Best Pronunciation à Ms. Alex or Doris
Carine 負責遞Best performer in Supporting Role& Best Performance à Fr. Bauer
17:00---17:40
大合照時間
請所有老師上台拍大合照…^^

活動圓滿結束
各組導演&工作人員需確認場地清理完畢才能離開…O

* 各組表演中間,觀眾只能出場,不能入場.(出場時,必須利用雙層門的控管,避免光害…若要再入場就必須利用主持人報幕的小小空檔…不便之處…敬請大家多多配合….預祝大家演出順利成功OOO….^^




☆☆☆☆☆☆☆☆化粧台&化粧間的使用時段&規則☆☆☆☆☆☆☆☆

☆上午☆ 化粧台使用流量限制.英文系每次限15人.大傳系每次限10人.各組人員必須依時間&配帶工作證,方能進入化粧間
化粧台(1)
8:00-10:00 英文(1) Scuba Lessons
10:20 - 12:20 英文(4) Beauty & the Beast
化粧台(2)
8:00-10:00 英文(2) Charley’s Aunt
10:10--12:10 大傳(1) Butterfly Love
化粧台(3)
工作區
10:10--12:10 大傳(2) Who Is Playing with Fu Manchu
化粧台(4)
8:00-10:00 英文(3) Alfie
10:10--12:10 大傳(3) Shooting Paparazzi


☆下午☆登場前30分鐘.各組可依時段使用化粧間.
A化粧間A
B化粧間B
13:00- 13:30英文(1) Scuba Lessons
13:35-14:05 大傳(1) Butterfly Love
13:50- 13:20英文(2) Charley’s Aunt
14:25-14:55 大傳(2) Who Is Playing with Fu Manchu
14:50- 15:20英文(3) Alfie
15:25-15:55 大傳(3) Shooting Paparazzi
15:40- 16:10英文(4) Beauty & the Beast
16:10~工作人員計分準備區

☆ 請務必依照時段及所分配之化粧台(間)來使用
☆ 化粧間必須保持肅靜.不可飲食
☆ 化粧台不可積放重物.
☆ 各組使用完畢務必清空,以方便下一組使用.