The Research On Conventions In Jing Ju

Jing Ju Conventions which observed by Jing Ju performers evolve from long term arts performance practices. As the symbol of Jing Ju's foundation, those conventions are characterized by a distinctive profession style and act as binding force to guarantee the development of Jing Ju. The contents of Jing Ju conventions include Jingju numen worship, customary practice, taboos, performing customs, performing places and appreciation customs.This article targets Jing Ju convention as its research object, and focuses on professional beliefs, taboos, jargons and performance customs respectively.The first part of all six sections of the article, is the prolegomenon part which thesignificances, values and research methods are introduced as well as the literature review homeand aboard of the study. Chapter one is the brief introduction of Jing Ju conventions. In mischapter, the causes of Jing Ju conventions have been concluded as four reasons: the result of JingJu genre developing, the effect of other drama genres, the demand of Jing Ju independence, andeffect of folk belief. The features of Jing Ju conventions are also summarized as stability (duringthe process of handing down from generation to generation), indistinctiveness (only be observedwithin the Jing Ju profession), and restraint (on the Jing Ju practitioner). The belief of Jing Ju isstudied in second chapter, which discusses the complexity of Jing Ju founder belief, the worshiprite of Laolang Shen, the diversity of Xi Shen and its worship, the belief of Jing Ju numen, and theworship of Jiuhuang Shen and Guangong. The mental demands of Jing Ju performers anddevelopment demands of Jing Ju itself are demonstrated as the reasons of these believes. Chapterthree is the study of Jing Ju taboos, which is divided into on-stage taboos and back stage taboos.On-stage taboos refer to language taboos and behavior taboos, and the most importance, the"Baihu'" taboos. Back stage taboos include the stipulations of Jing Ju and back stage tabooregulations. The causes, developments and influences of taboos are also analysis in this part.Chapter four introduces the jargon of Jing Ju and its effects and spread. The professional terms ofJing Ju, Jing Ju proverbs, and life nomenclatures are used to explain the Jing Ju jargonrespectively. The conventions of Jing Ju performance is discussed in chapter 5. The study of thischapter is divided into two parts: The first part introduces three types of Jing Ju performancepromotion from historical points of view, which are substance form, audio form and literatureform. The second part emphasizes on the research of variety styles of Jing Ju performance, whichincludes Tanghui, Jieling, professional and cooperative performance. This chapter reveals theattention that Jing Ju pays to the common lives and social customs, and concludes this attention asthe reason of Jing Ju's vitality.The conclusion of the article is that Jing Ju conventions exist in every part of Jing Ju business, and they unite its performers, regulate their behaviors, and improve the development of Jing Ju. The conventions may seem superstitious, but researchers of Chinese Opera should pay more attention of this part in order to improve the development Chinese Opera arts.