A Study Of The Jingjiao In Ming Dynasty

The formation and perfection of the role of symbolizes the development and maturation of traditional operas.The development of traditional operas is inseparable and inseparable.It is necessary to understand that the traditional opera culture and art must begin with the evolution of its internal colors,and the Jingjiao plays a role in Chinese opera.All aspects of development and evolution,as well as the character image played,are in a special position.Because the Jingjiao of Ming Dynasty legend is once again the peak of development on the basis of Yuan Zaju,the author based on the extensive reading of a large amount of literature on the Jingjiao,based on a series of books written by Mao Jin,“The Sixty Melodies” is mainly for the Ming legends.The Jingjiao were researched and organized.Complete from the following sections.The First chapter makes a simple analysis of the name of "Jingjiao," because the name of "Jingjiao" has always been a subject of debate in the academic world.The author reads from the "city language","anti-sense theory," "joint army promotion theory".There are several important arguments about "Jingjiao",which are the main sources of the name of "Jingjiao".After research and analysis,"Makeup said" and " Buddha said" start from facial makeup.The arguments of these two arguments conform to the facial makeup features of "Jingjiao" from ancient times to today.For this reason,the author endorses these two most persuasive View.The other four arguments are either not strong evidence or arguments are overturned.In short,they cannot be used as the source of the "Jingjiao" name.They can only serve as a reference for the study of the origin of the "Jingjiao" name.The Tecond chapter grooming the origin of "Jingjiao",because the origin and evolution of each character are accompanied by the maturity of drama art.The net feet in the Song and Jin dynasty saw the formation of primitive forms and Yuan zaju.The end of the Yuan Dynasty and Nan drama was further mature until the exquisite refinement of the Ming legend.Each stage showed a different status.During the evolution of the role system,the net The feet are showing a dynamic development trajectory.The Third chapter Since the Yuan Dynasty entered the Ming Dynasty,due to the lengthof the script and the complexity of the contents,the number of characters played by the Jingjiao has also gradually increased.In the Ming Dynasty script,the characters played by the Jingjiao changed from the funny and complex characters to the positive and negative characters of the play.new ambience.Therefore,based on the role of the Jingjiao player in the "Sixty Melodies",the author summarizes the role of the Jingjiao play role(Appendix A)based on the role of the Jingjiao in the play and the number of appearances.This article gives a detailed summary of the character images of Jingjiao played in the Ming legend.In addition,as the Jingjiao play characters gradually become type,it also briefly categorizes and clarifies the types of characters in the positive and negative characters.The Fourth Chapter Opera art originates from life,most of the characters in each role are miniatures of social characters.Especially in the Ming Dynasty,opera creation was given the role of social education by the playwright.Jingjiao is the most widely played figure on the stage of drama,and it is a character that shapes the most personal character of the image.Therefore,based on the analysis of the characters played by the Jingjiao,it is possible to profoundly and intuitively explore the role that the Jingjiao is given by the playwright.Social functions are used to reveal the entire social reality in the Ming Dynasty.The Fifth Chapter In the grand stage of the development and progress of classical dramas,in order to thoroughly understand the development and maturity of a character,it is also necessary to understand the performance arts it presents at different stages.The author takes the Jingjiao play the funny character image as the research object in the Ming legend,and studies the role played by the Jingjiao and the play in the drama from the three aspects of“Kosuke”,“singing” and “Nian Bai”.On the other hand,facial makeup and costumes are the most special and intuitive symbol of net stage performances.Therefore,according to the“Sixty Melodies”,the Jingjjiao play figures make up costumes and make up a list of Jingjiao and makeup(Appendix 2).)On this basis,a simple analysis of the characteristics of the makeup of Jingjiao in the dress.Through the analysis of the origin of the Jingjiao,Discovering the Jingjiao from the deputy net and sub-end of the Song and Jin dynasties to the legends of the Ming dynasty,with the evolution of history,the position of the Jingjiao gradually increased.Jingjiao can't sing in the Song and Zaju operas and Yuan operas.It aims to be funny and funny.It plays a variety of characters and is in a secondary position.In the legend of the Ming Dynasty,the Jingjiao achieved a gorgeous transformation that set the “singing and playing” variety of performance methods in a single type and the types of characters played gradually became stereotyped.