Tibetan Opera (Xiangba, Nanmulin, Xigaze)

Name of China's national intangible cultural heritage: Tibetan Opera (Xiangba, Nanmulin, Xigaze)

Applicant: Tibet Autonomous Region

Project No.: 224

Project No.: Ⅳ - 80

Time of publication: 2006 (the first batch)

Category: Traditional Drama

Region: Tibet Autonomous Region

Type: new item

Applicant: Tibet Autonomous Region

Protection unit: Department of culture of Tibet Autonomous Region

Introduction to Tibetan Opera (Xiangba, Nanmulin, Xigaze)

Applicant: Tibet Autonomous Region

Tibetan Opera is a very large system of operas. Due to the different natural conditions, customs, cultural traditions and dialects in different parts of the Qinghai Tibet Plateau, it has many kinds of Arts and schools. Tibetan Opera is the mother of Tibetan opera art. It is spread to the Tibetan speaking areas of Qinghai, Gansu, Sichuan and Yunnan provinces through monks and pilgrims who come to the Tibetan ancestral temple of Weizang. It forms the branches of Huangnan Tibetan Opera in Qinghai, Gannan Tibetan Opera in Gansu and Seda Tibetan Opera in Sichuan. In India, Bhutan, Sikkim and other countries, Tibetan Opera is also popular.

The Tibetan name of Tibetan Opera is ram, which means "Fairy". It is said that Tibetan opera was first performed by the seven sisters, and the contents of the repertoire are mostly mythological stories in Buddhist scriptures, so it gets its name. Tibetan opera originated from Tibetan religious art in the 8th century. In the 17th century, it was separated from the religious rituals of temples and gradually formed a life-style performance with singing as the main part and the basic programs of singing, reciting, dancing, expressionism, white and technique. Tibetan opera has a high pitched and powerful singing style, which is basically decided by people, and each singing style has its own voice. Tibetan opera was originally a square opera, with only one drum and one cymbal accompaniment and no other musical instruments. The performance is generally divided into three parts, the first part is "Dun", which is mainly for the opening performance of song and dance to worship gods; the second part is "Xiong", which is mainly for the performance of drama legend; the third part is called "Zhaxi", which means blessing Yingxiang. The traditional repertoire of Tibetan Opera is said to have "thirteen volumes", which are often performed as "eight Tibetan operas", namely "Princess Wencheng", "King norsanfa", "Lang sawen Beng", "zhuowa Sangmu", "Su jinima", "Baima Wenba", "dunyue Dunzhu" and "Zhimei gengdeng". In addition, there are "riqiongwa", "Prince Yuncheng", "jingbaqinbao" and "debaden" Ba, suibaiwangqu and other plays contain Buddhist content. There is only one set of Tibetan opera costumes from the beginning to the end. The actors do not make up, but mainly perform in masks. Tibetan opera can be divided into white mask opera and blue mask opera. In the process of spreading blue mask opera, due to different regions, it has formed four schools: juemulong Tibetan opera, jueba Tibetan opera, Xiangba Tibetan Opera and Jianggar Tibetan opera. Every year, the "sheaton Festival" is a day for Tibetan troupes to perform one after another, so the "sheaton Festival" is known as the "Tibetan Opera Festival".

After the peaceful liberation of Tibet, the government of Tibet Autonomous Region established the Tibetan Opera Troupe of Tibet Autonomous Region on the basis of the original juemulong Tibetan Opera Troupe, which took on the task of inheriting and developing Tibetan opera. It successively organized and performed some traditional operas such as "lang sa Wen Beng", "Princess Wencheng" and "Prince Nuosang", and also created and performed some modern theme operas. The troupe is maintaining the original square art of Tibetan opera On the basis of artistic features, the author has carried out the practice of theater stage art, so that Tibetan opera has stepped onto the stage from the square, with lighting, scenery and makeup, and began to use orchestral accompaniment. After the 1980s, Qinghai Tibetan Opera Troupe was founded in Huangnan. It created and performed such excellent plays as "Yile Fairy", "envoy of the Tibetan king" and "Golden Dawn", which had a great influence at home and abroad. The new repertoire has brought new vitality to Huangnan Tibetan opera. For example, the accompaniment of "Yile Fairy" includes traditional Tibetan musical instruments such as six strings, and large modern mixed band mainly composed of folk music. While forming the interlude atmosphere music, it can directly accompany the aria. This has changed the situation that Tibetan opera only uses one drum and one cymbal to rhythm dance and perform actions, and rarely accompanies the aria What's the matter. The improved Huangnan Tibetan opera set and stage art are magnificent, magical and elegant, refreshing.

Tibetan opera has a long history and meticulous performance program, which has an irreplaceable position in the Tibetan people's spiritual life. Restricted by strict religious rules, Tibetan Opera is less influenced by Han culture in the development process, and retains more original style from performance content to form, so it has high academic value in the field of drama genesis. At the same time, the script of Tibetan Opera is also a peak of Tibetan literature. It not only emphasizes the temperament, but also emphasizes the artistic conception. It uses a lot of Maxim, proverbs and idioms, and even intersperses allegory stories in the plot, retaining the essence of Tibetan ancient literature language. However, in recent years, Tibetan opera, like the mainland operas, has fallen into the competition with modern art and entertainment forms for audience and performance market. There are many problems, such as the lack of funds, the difficult survival of the troupe, the disconnection of artistic talents, the loss of traditional performing skills, and the weakness of theoretical research. The development of Tibetan Opera in various areas is facing crisis, so it is urgent to make plans to protect this ancient ethnic minority opera.

Xiangba Tibetan opera, also known as "Chang zhaxizhiba". During the fifth Dalai Lama's reign, a nobleman named zhaxizhiba later worked as galun. He ordered people in his hometown of Nanmulin to learn from Jianggar Tibetan opera, organized a Tibetan Opera Troupe, and gradually became popular. Because they were all on the Xianghe River in the valley of Nanmulin, they were called Xiangba Tibetan opera. Later, gaxia's "zeqialekong" was registered as "Chang zhaxizhiba". The eighth Panchen Lama and the ninth Panchen Lama paid more attention to Hunan and Pakistan, supported them for a period of time, and gradually grew into a school of their own. It is mainly popular in Duoque, Kaze, Qiong, Shanba and other places in Nanmulin county. Genjiao, the dramatist on the eve of liberation, was outstanding in talent, optimistic and mischievous, and familiar with scripts. He was the dramatist selected by the eighth Panchen Lama and had the greatest influence in the history of Xiangba Tibetan opera. In the early days, Xiangba Tibetan Opera didn't go to Lhasa. One year, the xieba Tibetan opera company went to Lhasa to participate in the Sheraton Festival. When they passed the Yarlung Zangbo River, they capsized and killed many artists. The rest of them, a few riwuqi artists, went to Nanmulin to find some Xiangba artists to perform in Lhasa, known as "Xiang riwuqi". Later, the influence of Hunan and Pakistan became greater, and it was stipulated that "Princess Wencheng and Princess Nepal" and "Zhimei gundun" would be performed in Lhasa in turn. The whole style of Xiangba Tibetan Opera is close to Jianggar, and most of the artists have died now.

Chinese PinYin : Cang Xi Ri Ka Ze Nan Mu Lin Xiang Ba