Theatrical performances are always held on such occasions, in fact they constitute part of the religious element of the _hui_. Though the performances are secular in character they are known as _shên hsi_, which might be translated "divine" or "religious drama." The drama (such as it is) provides the most popular of all forms of amusement among the agricultural classes. The actors are professionals, who wander from place to place seeking engagements. Contracts are drawn up by middlemen called _hsieh-hsi-ti_, and contain a concise statement of how many days the performances are to be given (generally three or four), how many actors are to take part in them, and what the payment is to be. The actors carry with them their own garments, false beards, masks and other "properties," while the stage is supplied by the village. The stone-built theatrical pavilions usually face northwards, towards the gateway of the temple with which they are connected. Temples, and the images in them, face the south: thus the gods, for whose benefit and in whose honour the plays are theoretically given, have a full view of the entertainment. The spectators stand between the temple and the stage. The performances (usually consisting of short separate plays) take place at intervals throughout the whole of each day. [Illustration: A TYPICAL THEATRICAL STAGE BELONGING TO A TEMPLE (see p. 130).] [Illustration: VILLAGE THEATRICALS (see p. 132).] There is very little originality in the plots of the pieces presented; they are all taken from or founded on well-known Chinese legendary episodes or on events described in famous historical novels. If this were not the case, the dramatic methods in vogue in agricultural China would have to be modified; for the dialogue cannot under present conditions be heard distinctly except by a limited number of the audience. Not to mention the gongs and cymbals of the orchestra, which frequently come into action at what appears to foreigners to be the wrong moment, the open air soon dissipates the players' voices, and the great body of spectators ("audience" is hardly an appropriate word) is apt to be somewhat restless, if not noisy. Female parts are generally taken by specially trained boys or young men, though actresses are no longer unknown in China. The acting is rarely good from a European point of view; on the contrary, it is very stiff and full of what seem to us ridiculous mannerisms. But it is unfair to judge of the histrionic art of China from what one sees at a country fair.