1. Brief description of the text.
China's national opera has a long history and a great variety, and there are 275 varieties of it as far as can be traced. Tibetan opera, is the Tibetan region generally popular, in the motherland of a hundred flowers in the art of a unique type of theater. Tibetan opera art has a history of more than 600 years, more than 400 years earlier than the Beijing opera known as the national essence, known as the Tibetan culture "living fossil".
The text is structured according to the order of different aspects of things, in a general-division-general relationship. First of all, the main features of Tibetan opera are summarized in three prose sentences: "they are performed with masks", "there is no stage when they are performed", and "an opera can be performed for three to five days". Next, write in detail the legend of Tangdong Jeb, the founder of Tibetan opera, "made a grand wish and vowed to build a bridge," "formed the first Tibetan opera troupe in Tibet," "left 58 wire bridges on the Yarlung Zangbo River, and at the same time, the became the founding father of Tibetan opera". Then the character and function of the mask, an important feature of Tibetan opera, is introduced. Then it briefly explains other features: the stage is simple and simple; the plot relies on narration and rap to describe; there are fixed programs for the opening, the main scene and the ending; the singing and movements are colorful and colorful; the performance time is long, etc. The last sentence summarizes the whole text. The last sentence summarizes the whole text, pointing out that the Tibetan opera is a national theatrical art passed down and developed by teachers. With the author's clear vein, a little bit of face, detailed description, colorful Tibetan opera and its irresistible artistic charm in front of the reader.
This text is an intellectual, humanistic and interesting folklore prose. It takes accurate description as the premise and figurative description as the means, and it is quite different from Spring Festival in Beijing in terms of the angle of description, the order of expression, the method of expression, and the style of language. From the content, "The Spring Festival in Beijing" introduces festival customs, while this article focuses on the formation and artistic characteristics of Tibetan opera; from the order of expression, "The Spring Festival in Beijing" takes time as the order, while this article takes different aspects of things as the order; from the method of expression, "The Spring Festival in Beijing" uses figures, examples, comparisons and analogies, while this article mainly adopts metaphors, rhetorical questions, symbols and exaggerations to illustrate things in a vivid and graphic way. From the point of view of language style, the language of "Spring Festival in Beijing" is natural, down-to-earth, accurate and concise, with a strong and intriguing Beijing flavor, while the language of this article is rich and varied, vivid and evocative, and quite literary.
The purpose of selecting this text is, firstly, to lead students to understand the method of expression and language characteristics of this article, and to learn the author's vivid and imaginative expression; and secondly, to understand the Tibetan culture by understanding the formation of Tibetan Opera and its characteristics, and by appreciating the unique artistic charm and rich cultural connotation of traditional drama.
2. Word and sentence analysis.
(1) The understanding of sentences.
①How many other plays in the world are performed with masks?
The text opens with a novel and unique method of expression, using the form of a rhetorical question to pre-empt and emphasize the outstanding features of Tibetan opera, such as the performance of wearing a mask. At the same time, also for this article will focus on describing the color, shape and role of the mask to lay the groundwork.
②Or from the Tibetan monk Tangdong Jiebu's legendary story about it.
This sentence in the full text of the layout of the role of the beginning and end. The first summarizes the three main features of Tibetan opera, with "or" turn, introducing the legend of Tangdong Jiebu and the formation of Tibetan opera. Tangdong Jiebu is the founder of Tibetan opera, the originator, without Tangdong Jiebu there is no Tibetan opera. Monk: a highly respected monk (monk). Legendary story: a story with a bizarre plot or characters whose behavior is beyond the ordinary.
③At that time, there were few bridges on the Yarlung Tsangpo River, and countless cowhide boats, overturned in the wild-horse-dislodged rapids, and many of the people who tried to cross the river were swallowed up by the roaring river.
The author used concise and accurate language, vivid description, reproduced the harsh natural environment at that time, indirectly glorified the noble quality of Tangdongjiebu, illustrated the ideological roots of his wish and vow to build bridges, and also illustrated that the folk art originated from the life, and came into being according to the needs of the times.
④The masks use symbolism and exaggeration to make the characters in the drama prominent and distinctive.
Why have Tibetan opera masks been preserved in the course of long-term development? This sentence gives an eloquent answer. The cause and effect relationship between the preceding and following parts of the sentence: "the use of symbolism and exaggeration" is the cause, and "outstanding characterization and distinctive personality" is the result. Symbolism: the use of concrete things to express a particular meaning or thought or feeling. For example, in Tibetan opera, white masks are used to represent purity, and those who wear white masks are good people. Exaggeration: In order to inspire the audience's imagination, exaggerated things are used to express. For example, half-black and half-white masks are used in Tibetan opera to describe two-faced characters, and masks with green faces and fangs are used to describe demons.
5They want nothing else, as long as they have an audience.
Tang Dongjiebu Tibetan opera troupe's purpose is to "persuade people to do good and virtuous, contribute money and effort, **** with the repair of bridges", so the performance stage, props and so on, there is no excessive requirements, as long as there is an audience, can play a propaganda effect on the line.
6 Tibetan opera is so, generation after generation of teachers to teach.
The original Tibetan opera had no script, relying on the master to teach by example, and relying on the gradual processing and improvement of the troupe's rehearsals and performances, so that the Tibetan opera with a history of more than 600 years has been preserved and developed, becoming a "living fossil" of Tibetan culture.
(2) Understanding of words.
Theater: a type of theater art.
Roaring: describes the rushing and roaring of water, and also describes the furious shouting of a person.
Swallow: devour: bite. Devour.
mellow: this lesson refers to a song that is strong and mellow.
Living Buddha: this lesson refers to the upper lamas in Lamaism who are succeeded by the reincarnation system.
Witch: a woman who makes a profession of pretending to pray for people.
Repression: the limitation of feelings, powers, etc., so that they cannot be fully expressed and utilized.
Dunhou: faithfulness.
Deduction: a method of reasoning in which general principles lead to conclusions about particular cases. This lesson can be understood as a performance or manifestation.
Recruitment: solicitation. This lesson refers to the opening of a Tibetan opera by stating the history of Tibetan opera to solicit the audience.
Yuya: Yuya: beautiful, comfortable; Ja: intonation, expressing exclamation.
Kaisan: Kaisan: a Buddhist term referring to the first to found a monastery on a famous mountain. Nose ancestor: a metaphor for the founder. Originally refers to the founder of a cause. This lesson refers to Tangdong Jiebu is the founder of Tibetan opera.
Two-Faced: a metaphor for deviousness and cunning, one thing to one's face and another behind one's back.
With the heart: with: at the behest of; desire, want, hope. Do whatever your heart desires.
Teaching Objectives
1. Read and memorize the words "legend, roar, wilderness, auspicious, supple, symbol, demon, horror, nothing, laugh, sing and dance, marvel at, penniless, two-faced, nothing else, and do as one pleases".
2. Read the text silently to understand the formation of Tibetan opera and its characteristics, and to appreciate the unique charm and rich cultural connotation of traditional dramatic art.
3. Study the accurate description and vivid image of the article, accumulate language, and understand the method of expression.
Three, teaching suggestions
1. Before teaching this lesson, students can be arranged to collect relevant information, to understand the Tibetan region of China and the folklore of Tibetan compatriots, to understand the knowledge of traditional Chinese opera. Conditional can also organize students to watch the relevant audio-visual information film, enrich the students of Tibet, the drama of knowledge.
2. Teaching this skimming text, need to grasp the whole, should not dismember the text. The first step is to let the students carefully read the reading tips before the text, in accordance with the reading requirements for independent reading. The second step in guiding students to read the text, in the overall grasp of the content of the premise, to clarify the article from which aspects of the introduction of Tibetan opera, and with their own words to say that the Tibetan opera is how to form, what are its characteristics. In this teaching link, students should be left with enough space for reading, thinking and discussing to promote the dialog between students and the text as well as among students. The third step is to guide students to choose their favorite sentences and paragraphs to draw and criticize, exchange harvest experience (can be inspired, can be good words and sentences, can be the article writing method, can be reading method), accumulation of language. Teachers in the process of threading the needle, clearing up doubts, motivating and pointing out, summarizing and refining, putting into practice the development of students' language literacy, and improving students' ability to appreciate and evaluate.
3. Comparative reading is a good way to develop language skills. Teaching can explore the similarities and differences in expression between this article and "Spring Festival in Beijing". Students can be allowed to explore the way of cooperative learning in small groups, so that students in the interaction to promote communication, in the exchange of learning to cooperate, in the cooperation caused by the debate, in the debate to activate thinking. Teachers in this process not only to squat down and students equal dialog, but also to stand up to lead; not only to cherish the unique feelings of individual students, but also to pay attention to the value of the text.
4. In the study of two articles introducing folk customs and traditions, you can carry out a small practice, guiding the students to follow the expression of the "Beijing Spring Festival", write about their hometown of the Spring Festival; you can also follow the expression of the "Tibetan Opera" to write about their own familiar form of art.
5. This lesson is intellectual, humanistic and interesting, teachers should pay attention to the intention of the editor in teaching, according to the children's characteristics, highlighting the key points, break through the difficult points, do not cover all the bases, over-exploration. Knowledge of religion, living Buddha, monks, witches, etc. do not have to look y into the spirit of the founder of the Tibetan opera, Tangdong Jeb, do not make too much deep humanistic connotations of excavation. The focus is on understanding the formation and characteristics of Tibetan opera and comprehending the methods of expression.
6. This class has many good words and sentences, and the literary color is relatively strong. In teaching, attention should be paid to guiding students to contact the context and their own accumulation, to think about the meaning of the words and phrases, to analyze the emotional color of the words in the language environment, to experience the effect of their expression, and to use effective methods to accumulate words.
Four, Teaching Cases
Segment:
Understanding Artistic Characteristics, Appreciating Methods of Expression
Teacher: What are the characteristics of Tibetan opera? Let's share them together.
Sheng: At the beginning of the text, the characteristics of Tibetan opera are written in general. I'll read it to you (read aloud natural paragraphs 1-3). From these three natural paragraphs, that is, these three rhetorical questions, we know that Tibetan opera has the characteristics of "wearing masks," "no stage," "a play can be performed for three or five days and still not finished." The Tibetan opera is characterized by the fact that it is performed in masks.
Teacher: You are very good at reading, from the author's opening three consecutive natural paragraphs, that is, three consecutive rhetorical questions, summarizes the characteristics of the Tibetan opera. Class, let's read these three natural paragraphs together.
Sheng: The text also specifically describes the mask of the Tibetan opera, in the 8-16 natural paragraphs of the text. I'll read it to you with my table.
(Read aloud the 8-16 natural paragraphs.)
Sheng: From here, we can learn that in Tibetan opera, the masks worn by people with the same identity are basically the same color and shape. Different colors and shapes are representative of different identities and meanings.
Sheng: Let me add. In the 16th natural paragraph, the author also writes that one of the important reasons for the preservation of Tibetan opera masks is that the masks use symbolism and exaggeration to make the characters stand out and have distinctive personalities.
Teacher: After the two students cooperated in the study, they divided the work and reported back, letting us understand the characteristics of the Tibetan opera masks and the reasons for their preservation, thank you. But the mask is how to use symbolism and exaggeration, who can be more specific?
Student: I'll tell you. For example, the masks use different colors to represent different meanings, white for purity, red for majesty, green for suppleness, yellow for good luck and so on, is the symbolism. We can also imagine that these masks in color, especially in shape must be very exaggerated, for example, "the mask of the demon green fangs to show that the repression and terror" "villagers old man's masks are sewn with white or yellow cloth, eyes, lips dig a hole to show that the simple and generous ", which makes the characters outstanding and distinctive.
Division: added very good! Understanding the mask of Tibetan opera, we can feel the wisdom of the Tibetan people and the unique charm of Tibetan opera! In addition to masks, what other aspects of Tibetan opera are also characterized? We continue to exchange.
......
Teacher: students, we review the whole text, the author opened with a rhetorical question to write the characteristics of the Tibetan opera in general, the middle of the formation of the Tibetan opera, and finally on the characteristics of the Tibetan opera to do a detailed and vivid description, the author why write it? Everyone think carefully.
Sheng: I think it's because the characteristics of the Tibetan opera are too distinctive, so the author writes about its characteristics in general at the beginning, and in the form of rhetorical questions, the emotion is very strong.
Sheng: I think, the author just in the opening of such a general introduction to the characteristics of the Tibetan opera, the reader is not able to specifically understand the Tibetan opera in the end what are the characteristics of the Tibetan opera, so the text is followed by a strong description of the text, it leaves a deep impression on us.
Fifth, related links
1. Tangdong Jiebu (1385-1464) Ming Dynasty famous architect, the founder of Tibetan opera. Tibetans have always regarded him as the creation of Tibetan opera play god and the construction of bridges and iron and wood craftsmen "ancestor", is the Tibetan people in the mind of creation, wisdom, power incarnation.
Tang Dongjiebu's family was poor when he was young, and he herded sheep for a living. As an adult, he was a soldier, did business, and then cut his hair as a monk, monk name Zunzhu Sangbu. Because of his diligence, hard work, learning and thinking, to become a scholar with attainments and the Way, was known as Tangdong Jeb (meaning "a thousand miles on the plains of the King"). Tangdong Jiebu personally felt that Tibet's vast territory, high mountains and dangerous waters, and the transportation is extremely underdeveloped, which brought great inconvenience to the production and life of the Tibetan people. So, he braved hard work, trekked across mountains and waters, and widely explained the intention of building bridges to the people, and won the trust of many people and the support of government officials. Finally in 1430 in the Yarlung Tsangpo River for the first time in the construction of the curved water cable bridge.
After, Tang Dongjiebu in order to raise more funds to repair the bridge ship repair road, invited the Shannan Qiongjie County Baina family of seven looks like heavenly fairy, can sing and dance sisters, *** with the composition of the song and dance singing team, he personally taught them to sing their own works, the design of a variety of styles of different costumes, dressed in these beautiful girls on the body, performances everywhere. The money obtained from the performance of karma, as a special fund, mobilized designers and smelters and a large number of civilian workers, according to the local conditions, construction year after year. In his lifetime, *** built 58 wire bridges. People affectionately praised him as "iron bridge living Buddha".
Tangdong Jiebu in the process of raising funds, lifting the people of the inconvenience of the process, and completed the Buddhist dance to the transition to Tibetan drama. He blended the biographies in the Buddhist classics with folk legends and mythological stories to create a performing art with characterization and a combination of dance and singing, which gradually dramatized and strengthened the means of expression of the past single dance of jumping to the gods, and separated it from religious ceremonies, forming the prototype of Tibetan drama. Therefore, the Tibetan people honored Tangdong Jeb as the founding father of Tibetan opera.
In 1464, Tangdong Jebel died at the age of 79. TangDongJieBu life for Tibet transportation pioneering, for the creation of Tibetan opera, the development of the establishment of the immortal achievements, people with various forms of praise him, commemorate him. So far in many Tibetan opera performance venues, the audience to watch the opera first in front of the statue of Tangdong Jiebu dedication khada, to show gratitude; in the hometown of Tangdong Jiebu, and even retained a traditional ceremony, every time we watch the Tibetan opera performances, we have to bring some green oil and wool, will be given to these gifts to the troupe said with green oil, wool rubbed on the iron rope to save the good Tangdong Jiebu built (early defunct) on the iron bridge, make it stainless, eternal survival! to make it stainless and last forever. In addition, in Tibet, some temples, can often be seen for a white beard and white eyebrows, serene, amiable, holding eight sections of the iron rope Tangdong Jiebu portrait or statue.
2. About Tibetan opera
Tibetan opera is the general name of the Tibetan drama, is a folk song and dance form of storytelling comprehensive performing arts. Tibetan opera in history is accompanied by festivals, temple fairs, bazaars, fund-raising and other folk activities, mainly in Lhasa, Shigatse, Shannan and Kham in the towns, villages or manor performances, the form and style of its strong and distinctive characteristics of the Tibetan people and the rich and prominent magical colors of the snowy region.
As a kind of square art form, close to the audience, easy to be accepted, is the biggest characteristic and advantage of Tibetan opera. The performance is generally divided into three parts: the first part is "Dun", which is the opening speech; the second part is called "Xiong", which is the main play; the third part is called "Zhaxi", which means blessing and welcoming. The costume of Tibetan opera is only one set from beginning to end, with no make-up and mainly masks. The traditional repertoire of Tibetan Opera *** has thirteen big books, the famous "Princess Wencheng", "Qu Jie Nosang", "Rangsar Girl", "Suge Nyima", "Baima Wenba" and other dramas, mostly containing Buddhist content. Tibetan folk theater groups are very common. Anytime and anywhere you can see the rural squares, or set up a big tent, or pulling a large canvas, Tibetan theater troupes perform on the spot, around the ten-mile radius of the masses will come to watch, often surrounded by the water.
The Tibetan opera is known as the "living fossil" of Tibetan culture, and is currently being declared a world cultural heritage.
3. Other local operas
4. Summing up: the Tibetan opera has a long history of 1,000 years, and after going through one storm after another, to this day, it is just like a snow lotus blooming on the Tibetan plateau, y rooted in the depths of the hearts of the Tibetan people. Through it, the Tibetan people glorify the truth, goodness and beauty of life, and lash out at the falsehood, evil and ugliness of reality. It can be said that she is a measure of Tibetan people's life, is a measure of the children of the plateau to create an artistic wonder.