User talk:134.226.195.175

Found the "Break a leg" discussion page very interesting and informative. Having lived in Viet Nam, Indonesia and China, I would like to offer one further suggestion to the mix, but, before doing so, I would like to provide a link to www.broadwaydirect.com (more specifically: https://broadwaydirect.com/13-theater-superstitions-halloween/ ) which occasionally suggests that actors often vocalise, loudly, contradictory/ironic statements in order to distract/thwart the malevolent intentions of any would-be nearby 'evil spirits' (who, by their mischievous or even malign antics, could turn a play run into a series of mishaps or even disasters!).

In Viet Nam, for example, when one first encounters a new-born baby, it is commonplace to loudly exclaim things like: "Oh what an UGLY baby! Such a HIDEOUS face! What nasty-looking eyes! Such a CROOKED nose!", in order to stop any lurking evil demons taking a nefarious interest in the child and thereby affect the child's future "luck", happiness or prosperity. Similar traditions still occur in rural China, with HIGHLY colourful language associated!

In both Viet Nam, China and many other East Asian cultures, actors employ various masks, rituals, spells and incantations in order to make the demons or ghosts (who seem very at home in theatres and who are constantly looking for mischief) believe that the drama which is being rehearsed and prepared for will be a failure, disaster or flop with the audiences. This includes actors who are getting into costume or make-up shouting ill-wishes at their colleagues and, as they stand to get ready to take to the stage, even feigning broken limbs, lost voices, limps, amnesia of their lines, and even having been possessed by a ghost or demon.....right up until they straighten up and walk onto the stage. One of these maledictions is certainly "Break a leg!" and academics suggest that these traditions dates back to over a thousand years ago ( https://www.britannica.com/art/Chinese-performing-arts/The-20th-and-21st-centuries ).

Add to these traditions the idea that at different times or eras, the drama itself could simply be for a simple entertainment, educational or religious observation purpose; or even be a tool in itself to exorcise or banish evil spirits or demons...or lyrical re-telling of conflicts between gods and/or demons.......or simultaneously, combinations of all of these ( https://www.britannica.com/art/Chinese-performing-arts/The-20th-and-21st-centuries ).

Finally, it is well documented that when European colonial expeditions (whether in the time of Marco Polo or right up to the late 19th century/early 20th century opening-up of Japan) readily transferred elements of these dramas or rituals back to the European home land (and there is evidence that troupes of actors, performers and gymnasts/athletes had wandered to Europe along early trade routes), so it is at least possible, if not probable, that some of these superstitions travelled from Asia, perhaps even long before Shakespeare!

(https://www.britannica.com/art/Chinese-performing-arts/The-20th-and-21st-centuries https://www.jstor.org/stable/2801638?seq=1#metadata_info_tab_contents https://www.jstor.org/stable/24241089?seq=1#metadata_info_tab_contents https://www.jstor.org/stable/24241089?seq=1#metadata_info_tab_contents )

I hope you find these suggestions interesting and you might even consider including them in your treatment of "Break a leg". If not, I would welcome the opportunity to discuss it further.

With best wishes (Trinity College Dublin, Ireland. 17th January, 2022) Francis Neary (talk) 17:10, 17 January 2022 (UTC)Francis NearyFrancis Neary (talk) 17:10, 17 January 2022 (UTC)