I. Historical development
The localization of Gannan Tibetan Opera is the result of more influence by the traditional Chinese opera. Gannan Tibetan opera was officially formed in 1946, and its emergence was related to Gyalmudin V. Living Buddha. Gyalmudang V Dambet Kinzang was intelligent and studious, and very cultured. He was 21 years old (1937) went to Lhasa to study Dharma and preach during the period, many times to watch Tibetan opera, and some research. Three years later, he returned to Labrang Monastery in Gannan and told Living Buddha Langcang about Tibetan opera in Tibet, and at the same time gave Langcang the task of writing and directing the script. Langcang was a learned living Buddha who had lived in Beijing for nearly 20 years and often interacted with the Peking Opera artist Mei Lanfang, so he was familiar with Peking Opera, so his scriptwriting and directing was not a wholesale copy of the Tibetan Opera, but was based on the actual situation of the Tibetan region of Gannan, and reformed and created in reference to the Peking Opera performances, and he successively wrote scripts for Songtsen Gampo and Ranmala, etc, which were rehearsed. 1946 Winter, in the courtyard of the Gyalmudang Palace presided over by Gyalmudin V, the first performance of Songtsen Gampo was staged, with Longcang Living Buddha himself playing the role of Emperor Tang Taizong in the play. Thousands of Tibetan people and lamas flocked to watch the performance, which was an unprecedented event.
With the birth of new China, especially the establishment of the Gannan Tibetan Autonomous Prefecture in 1953, people's minds were liberated from traditional confinement, and cultural life became more and more active, with the repertoire of Tibetan operas increasing continuously. 1955, Labrang Monastery rehearsed the second "Nammu Te" Tibetan opera --- "Daba Danbao". -In 1955, Labrang Monastery rehearsed the second "Nammut" Tibetan opera, "Daba Danbao," and in the same year, Labrang Monastery's "Oba Zacang" (Redemptorist Monastery) rehearsed the third "Nammut" Tibetan opera in Gannan, "Zhimei Ganden," and participated in the "Zhimei Ganden" opera. Zhimei more Den", and participated in the Northwest five provinces and regions of the opera repertoire, was rewarded by the General Assembly, won a banner. 1956 and rehearsed the "Zhuo wa sangm". Since then, the repertoire of "Nanmute" has been widely spread among the Tibetan folk in Gannan area. Luqu, Maqu, Zhoni, Diebu and Zhouqu counties, also to monasteries, villages as a unit have set up troupes, to the end of the fifties in the state to develop Tibetan opera performance team of 36, 9 plays. However, with the rise of the anti-feudal struggle in 1958, "Nammut" Tibetan opera was banned as an art form that "promoted religious superstition and glorified feudal emperors". In the sixties, Tibetan opera entered a period of prosperity, Labrang Monastery Troupe launched the Ramayana in 1960, and the Redemptorist Monastery was not to be outdone, launching the Adalam in 1962. But the good times didn't last long, with the beginning of the Cultural Revolution, Tibetan opera was banned again, and many living Buddhas, monks and artists who loved to engage in the "Nammut" Tibetan opera were brutally persecuted.
After the end of the Cultural Revolution, "Nammut" Tibetan opera was regenerated in the spring breeze of reform and opening up, and was vigorously developed. The performance unit also developed from a performance team in Labrang Monastery to dozens of professional and amateur performance teams, almost all over the Gannan grassland, spreading to Qinghai and Sichuan Tibetan areas. At the same time, the performing arts and singing music of the "Nammut" Tibetan opera were further enriched and perfected. 1978, a Tibetan opera team was set up in the village of Ngong Gohu in Jiujia Township, Xiahe County, which rehearsed the traditional Tibetan opera Prince Nosang and Demon Surrender; in 1980, the Tibetan opera team of the Labrang Redemptorist Monastery rehearsed Chisong Dezan; and in 1981, the Lukqu County Cultural and Industrial Team rehearsed Songsong Dezan. In 1981, the Luqu County Literary Team rehearsed Songtsen Gampo, and the Gannan Tibetan Opera Troupe was set up in the same year. 1982, the first "Nammut" Tibetan Opera Performance was held in the whole state, and the Tibetan Opera Troupe of Xiahe, Luqu, and Cooperative counties and the Tibetan Opera Troupe of the state took part in the 7-day Tibetan Opera Performance. Tibetan opera performance. Through the performance and exchange, the revival and development of Tibetan opera in the whole state played a great role in promoting. After that, Xiahe County Jiujia Township, Damai Township, Amu went to the town, cooperation city of Zogaidoma Township, Manma Township, Lexiu Township Qiaogutan Jion village, Luqu County, Shuangqi Erdi Village, Maqu County, Manri Ma, Qihama Primary School, Zuni Niba Township, etc. have set up a Tibetan opera team, village to village performances for the masses.
II. Artistic characteristics
1. Rap form
Gannan Tibetan opera singing, the rap form. Generally, it adopts the form of "Lianzhu Rhyming White" and chanting, and some plays also have the rap form of chanting and "Worship Song Day". Has a delicate performance, rhyme white clear, colorful, singing sometimes high and clear, sometimes low and sad and so on.
The color, style and interest of its performance are also different from that of Tibetan opera.
2. Adaptation of Stories
The repertoire of Gannan Tibetan Opera is mainly based on folk stories (such as "Prince Nuosang"), Buddhist scriptures (such as "Zhimei Gendeng"), historical stories (such as "Songtsen Gampo", "Chisong Dezan"), mythological stories (such as "Dabadanbo", "Prince Nuosang"), and classical epic poems (such as "Adaram", "Descending the Devil", and "Ramayana"). Adapted from the classical epics (such as "Adalam", "Descending the Devil", "Ramayana") as the original, it is a local ethnic theater popular among the Tibetan people in Gannan.
3. The combination of song and dance with plot development
Although Gannan Tibetan Opera is characterized by song and dance, the song and dance performances are often closely linked with the development of the plot. This is because the Gannan Tibetan Opera inherits and carries forward the essence of Labrang songs and dances, such as the flashing, jumping, flinging, swinging, spinning, resisting, and shunning dance postures in the songs and dances, and at the same time attaches great importance to applying these dance postures naturally and skillfully to different characters in the play, so as to make the characters' images more distinctive. One of the most distinctive features is the "Shun step", that is, the same side of the arm and foot at the same time in one direction of the action of the body, a large number of ministers, honor guards and other characters used in various plays in the performance of the footwork, the speed of its slow, elegant movements, commonly known as the "King Kong Crow Proud step". It is said that this kind of action is imitating the crow flying in the air, wings upward movement at the same time the chest forward impact, and other birds flying method is completely different and get. This is a kind of deformed movement formed by combining the Shunbu of folk songs and dances and the movement of "Habemu" of the temple. Scene design, the general use of song and dance in a circle, half-circle, group dance is directly on the folk song and dance on the stage, such as "Sai have Hailong Bei", "La Maoga Qianmu", "YiYaRuiKe ", "Jiamu Gongshi Xie", "Zaxi" and so on. Women's dance basically maintains the emotional characteristics of folk songs and dances, small movement range, slow rhythm, elegant and soft, lyrical and delicate. Children's dance jumping amplitude, rhythm neat, distinctive and cheerful, stretching and unrestrained. These dance movements are always characterized by the Labrang song and dance with the same arm and foot at the same time.
Three. Study of drama
Gannan Tibetan opera has been called Gannan Tibetan opera, Ando Tibetan opera, "Nammut" Tibetan opera and other different titles. The name "Nammut" began in the 1980s, and was formally recognized in 1995 as the official publication of the Chinese Opera Journal - Gansu Volume, a key project of the National Art Science Program. From the above name changes, it is easy to see that the Gannan Tibetan opera, Ando Tibetan opera is based on geographical concepts, while the "Nammu Te" Tibetan opera and "Nammu Te" opera is proposed from a literary point of view. The geographical concept of the Gannan region of Gansu is very clear, i.e., the jurisdiction of the Gannan Tibetan Autonomous Prefecture in Gansu Province after the establishment of the People's Republic of China. The concept of Amdo is a traditional Tibetan geographical concept. The Tibetan-inhabited areas in China have traditionally been divided into three major parts, Tibet, Amdo and Kham, based on a combination of linguistic, social and cultural factors. The name of Amdo is taken from the initial sound of the two holy mountains in the eastern part of the Bayan Kara Mountains, Mount Anqinggang and Mount Dolma. Ando's geographical scope includes near the eastern part of the Ba Yan Ka La Mountains in Qinghai Province to the east of Ganzi in Sichuan Province in the vast Tibetan area, across Gansu, Qinghai, Sichuan Province, the Tibetan population accounts for half of the population of the entire Tibetan area. Historically, the Tibetan people of this region have used the same or a similar dialect, and have called themselves the "Amdo people".
1. Previous researchers have neglected the scientific attitude of identifying the play from a linguistic point of view, and have hastily named the play unilaterally in accordance with the customary appellation of the local common people. From the point of view of Tibetan linguistics, Tibetan drama, Tibetan dictionary refers to theater, opera. The Gannan Tibetan language in Amdo region is pronounced as "Dugar", and the Aba region in Sichuan is pronounced as "Lugar". "Nanmute", semantics on the original meaning of biography. Such as yongzeng - yeh Xi Jianzan and other authors of the "Tsongkhapa biography", Sonam Gesen, "Guo Ranba biography", the Tibetan transliteration that is, "Tsongkhapa South Mutt", "Guo Ranba South Mutt". In addition, "Chinese and Tibetan dictionary", "Qu Da dictionary", "Da's dictionary" and Zhang Yisun edited "Tibetan-Chinese Dictionary" (Nationalities Publishing House, December 1993 edition) and other authoritative dictionaries are also explained in this way to explain the interpretation of the two words. In addition, people often see the "Ajilam" is a special reference to the Tibetan Tibetan theater title.
2. Tibetan drama "pile Gaer" word from the dance, Tibetan dance is called "Qiangm". "Qiangm" is derived from the ancient Indian Sanskrit word "dance". It can be seen that the Tibetan drama belonging to the title of art and science should be "heap Gaer", so the Tibetan language called the theater stage as "Gaerd", theater costumes as "Gaerche", theater literature as "Gaer word".
3. "Nammut" and the art associated with the record, the earliest about the founder of Tibetan theater Tangdong Jebu legend. It is said that when this Tibetan opera god was tired of constructing an iron bridge, he was enlightened by an empty mother (a fairy) and found seven fairies living in the Qiongjie place to seek help. Fairies through the form of theater to raise funds for the construction of the iron bridge, so the Tibetan Tibetan drama folk customarily called "Ajilam".
The content they sang during the performance was called "Namuta" (i.e., Namut). According to the author's analysis, Gannan Tibetan Opera "Nammut" is a historical biographical drama in the repertoire classification of Gannan Tibetan Opera. Just as today we call a certain drama a historical drama, a new historical drama, a modern drama, a traditional drama and so on when we create and comment on a drama. Tibetans are a religious people and have no clear concept of literature and art. In response to the objective reality that the education rate of Tibetans was very low in the past, artistic performances played an objective role in propagating the Dharma and publicizing the deeds of emperors and kings. Watching artistic performances became one of the main means of popularizing the reading of the biographies of the Buddha and the Dharma King. As the Gannan Tibetan drama "Songtsen Gampo" and "Zhimei Ganden" are the most commonly performed main plays. Since the central characters of these two plays are either His Holiness or incarnations of the Buddha, the masses refer to the biographies of the two most popularly performed plays as "Namut". Watching this form of historical biographical drama performance is called a pilgrimage to worship "Nammut".
4. In December 2003, the main organizer of Tibetan opera performances in the Machu region, Living Buddha Dangcang Garzang Chilie, as well as the monks who presided over the Dharma Dance performances at the Labrang Monastery, Samdrup and Gyaltsen Phuntsok, exchanged their views on the Gannan Tibetan opera. They fully agreed with the definition of Gannan Tibetan drama, and pointed out that the reasons why the Gannan Tibetan dramas "Gesar - Descending the Devil" and "Rangsawenpo" and "Adalam" were not honored as "Nangmut" were that the dramas contained killings, were not biographies of sages and virtues, and the people in the dramas were not Tibetan Buddhas or Dharma kings.
Looking at the study of Tibetan drama in Gannan, the starting point is low, repetition and belong to the introductory study. The scope of research, vision are relatively narrow, lack of in-depth first-hand information, especially the field study of word-of-mouth information. As a result, many of the articles and results are erroneous and fallacious. Such as the Gannan region's first Tibetan opera performance identified as Xiahe Labrang Temple is not accurate, according to the author's investigation, Tibetan opera performance in Gannan as early as 1937 in ZhuoNi County Zaguluo township Dilinduo village performance. Tibetan scholars GaZangTaedan in the study noted the meaning of the legend of the original meaning of the Tibetan language, however, not from the literalist point of view to re-examine, and flow in the clouds, along the South Mut theater said; about the performance time, he thinks no more than 3 hours, and the author has twice seen and heard the party introduced 5 hours of performance; about the composition of the band of predecessors is also mainly in the form of the band of the Redemptorist Temple to the conclusion that lack of universal. The generalization.
Four. Artistic influence
Gannan Tibetan opera music singing accepted a lot of local folk songs and rap music, such as the Gannan Tibetan opera in order to express the character and mood, to the Gannan Labrang local song and dance music as the basis for the use of some folk tunes [tooth soon plus round], [tooth Yin more card], [high Ramei], [Ga Deng Kang Si], etc., some of these tunes are passionate and joyful, some sad and sorrowful, some exciting and high, some light and elegant.
These tunes are passionate and joyful, sad and sorrowful, and some are soaring and soaring.
In other respects, there are also different from the Tibetan opera in Tibet, such as in addition to the gods and monsters and animals, other than masks, using facial make-up. Also do not use the "Winbarton", "Xiong", "Zhaxi" Tibetan opera traditional performance form. In addition, also absorbed the traditional Chinese opera scene and some performance techniques, so that it has a unique local Tibetan opera style.
According to Duan Yaping's introduction to the Gannan Tibetan opera, the localization of the Gannan Tibetan opera was the result of more influence from the traditional Han opera.
V. Representative artists
The Gannan prairie, located on the eastern edge of the Qinghai-Tibetan Plateau, is one of the several great beauties of China's Tibetan region. Here the mountains are beautiful, simple folk customs, ethnic art is profound, out of many famous folk artists. Jiu Xi grass, is one of the best. She has twice to Beijing to present art, by Mao Zedong, Liu Shaoqi, Zhou Enlai and other central leaders, and is still active in the Gannan grasslands.
Jiuxi Cao, 57 years old. She is well known in Gannan and even the entire Amdo Tibetan area, is a multi-faceted Tibetan folk artist, dance, Tibetan opera and playing and singing all kinds of fine.
Xiahe County is a spiritual place, out of Labrang religious myths, but also out of folk artists. Jiu Xi grass was born here in an extremely ordinary Tibetan family, there is no family artistic lineage. She and the song and dance bond, is entirely their own nature and intelligence, early to become a famous little actor in the school. Later, Gansu Provincial Art School came to Gannan to pick small actors, a few moves, she was seen. After one year of study in the art school, she transferred to the Northwest Civil College for another semester, because in time for the Great Famine of 1960, because her parents were very much attached and worried, and went home for the winter vacation, she did not return to the school in Lanzhou.
Jiuxi grass grew up listening to a lot of "King Gesar" play-singing repertoire, play-singing has a special ability to comprehend. A hot Zani this kind of national plucked instrument of soft and rich in emotional color, inspired her, so she is on the traditional Tibetan plucked music for the popularization of the adaptation attempt. This kind of play-singing which was transformed by Jusicao gradually became popular in the grassland.
In 1980, Beijing held the National Minority Cultural and Artistic Performance, and once again, Jiuxi Cao represented Gansu to perform in Beijing. She brought her own creation of the two Tibetan singing "Ah Xiang Lao Lao", sang the audience in the Hall of the heart, won the second prize.
In 1981, has been a "folk artist" identity of jiuxi grass, was selected to the Gannan Tibetan opera troupe as a formal actor, to continue the art of playing and singing, and Tibetan opera, and coaching and directing.
VI. Representative repertoire
From 1946 the first "Nammut" Tibetan opera -- "Songtsen Gampo" creation, to now more than half a century of creative performances, whether in the level of acting, or in the number of plays, have been greatly developed. According to preliminary statistics, in addition to the rehearsal of "Zhuo Wa Sam", "Zhi Mei Geng Deng", "Prince Nuosang", "Dabadanbao", "Rangsa Wenbo" and other five traditional eight Tibetan opera repertoire, but also the creation of the Tibetan historical theme of the play "Songtsen Gampo", "Ramayana", "Chisong Dezan"; by the Tibetan heroic epic "Legend of King Gesar" adapted by the repertoire of the play "Adamu", "Holling Battle", "Descending the Devil". In addition, at the end of the 1980s, the modern "Nanmute" Tibetan opera - "Long Tablet" was created and rehearsed, and a total of 12 plays were performed.
1.Comparison with Traditional Tibetan Opera
Comparing with traditional Tibetan opera, Gannan Tibetan opera is different in script, repertoire, performance, accompaniment, and even performance venues, forming its own unique style. The actors in Gannan Tibetan Opera do not wear masks, but make-up, except for those wearing masks for the roles of gods and monsters. Their costumes and props are novel and chic, which is one of the differences between Gannan Tibetan Opera and Tibetan Opera, the traditional "masked song and dance art"; Gannan Tibetan Opera performances are usually divided into three parts: the opening scene, the main drama, and the closing ceremony. The performance of Gannan Tibetan opera usually consists of three parts: the opening scene, the main scene and the closing ceremony. In order to coherently organize the plot, there is a special "narrator" in the play, who carries on the performance with rhyming chants. Before the actors come on stage, they are accompanied by flutes, yangqin, longtouqin, sihu, wipes, drums and other instruments. After the actors appear on the stage, there is no accompaniment, and the changes in the plot of the actors express the feelings and inner world of the characters in the play in a delicate way. The performances of Gannan Tibetan Opera are mostly performed on the stage, which is another difference from the traditional "square play", Tibetan Opera in Tibet. The singing of Gannan Tibetan Opera is in the form of rap, generally adopting the form of "Lianzhu Rhyming White" plus chanting, and some plays also have the rap form of chanting plus "Worshiping the Song Day", with delicate performances, clear rhymes and white rhymes, colorful drawings and colors, and the singing voice is sometimes high-pitched and clear, and sometimes low and sad. The repertoire of Gannan Tibetan Opera is mainly adapted from folk tales, Buddhist scriptures, historical stories, and classical novels, and is characterized by complete stories, plot twists and turns, clear veins, rich associations, vivid metaphors, and simple language, etc., as well as strong colors of romanticism and deep artistic infectiousness, and it is a popular local ethnic opera among the Tibetan people in Gannan.
VII. Art protection
Gansu Tibetan opera was born in Gannan Tibetan Autonomous Prefecture, the Tibetan language called "Nanmut" that is, "biography" meaning, at present, the play has been listed as the first intangible cultural heritage of Gansu Province protection list. Yesterday, Gannan Tibetan Song and Dance Drama Theater plus hanging "Gansu Province Tibetan Opera Troupe" unveiling ceremony was held in cooperation city in Gannan Prefecture, marking a major step in our province to further improve the inheritance, protection and development of Tibetan opera. "play" yong nu da mei ", in 1984 rehearsed one of the eight traditional Tibetan opera" langsa wenbo ", from 1985 to 1993 rehearsed the mythological drama" huo lin war"," devil", in 1989 by the Tibetan scholars, now northwestern university for nationalities professor ga zang caidan to reflect the Tibetan people's heroic resistance to the British invaders of the modern Tibetan opera" long monument". In recent years, the troupe, in the spirit of inheriting the traditional Tibetan opera art and strengthening the consciousness of high-quality strategy, continuously excavates, organizes and promotes the traditional Tibetan opera heritage, and re-modifies, upgrades and rehearses the traditional drama "Langsar Wenbo", which is more characteristic of Gannan region and the artistic style of the "Nammu Te" Tibetan opera, and was staged last year for the 50th anniversary of the founding of the state and won the praise of the audience. It was grandly staged on the 50th anniversary of the founding of the state last year, and won the praise of the audience. At the same time, some short and concise Tibetan songs and dances rich in national characteristics were also arranged. In the rural pastoral areas, for the farmers and herdsmen under the premise of performance, efforts out of Gannan, out of Gansu, out of the country, the dissemination of Tibetan drama and the art of song and dance. 1986 the troupe with just discharged the "yong nu da mei" and the "descending the devil" to participate in the Lhasa "Xuedong" Tibetan Opera Festival; 1995 and the state song and dance troupe composed of "China Tibetan Song and Dance Troupe", went to the United States, Canada to perform; in 1997 to the domestic Guangdong, Jiangsu, Shandong, Hebei and other southeastern coastal areas and the inland 32 large and medium-sized cities tour. 2000 September 26th at the invitation of South Korea Andong International Mask Dance Festival Promotion Association, through the State Ethnic Affairs Commission dispatched. By the Gannan Tibetan Opera Troupe main actors and actresses composed of the Chinese minority Tibetan opera troupe of 26 people, departed for South Korea to participate in September 28-October 8 held in the International Masked Dance Festival. At that time, the Tibetan Opera artists from Gannan, Gansu Province will show the style of our traditional Tibetan Opera and Mask Dance programs on the international stage, staging the combination of Tibetan folk singing and dancing "Stalls of Wooden Bells", the traditional Tibetan drama "Zhaxi Xue", and the Tibetan culture and art of an indispensable part of the important part ----- the Tibetan Opera Dance, which has a performance history of more than 200 years, will be held in Korea. Seven programs, including "Ritual Dance", a Tibetan opera dance with a history of more than 200 years, will be staged. The performances of the Chinese Minority Tibetan Opera Troupe will play a positive role in publicizing and embodying China's ethnic policy, enhancing the exchanges and friendship between China's ethnic minorities and the peoples of the world, and promoting China's western ethnic culture.
In 2002, the troupe was assigned by the Foreign Propaganda Office of the State Council and the Provincial Foreign Affairs Office to tour four European countries, namely, Britain, Holland, Sweden and Norway, and was honored with various awards.
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