After the establishment of the Tibetan Opera Troupe of the Tibet Autonomous Region in 1960, the orchestra began to expand and gradually used a variety of domestic ethnic instruments and individual Western instruments, and the singing of Tibetan opera was accompanied by strings.
The orchestra system of the Tibetan Opera Troupe of the Autonomous Region is based on the Tibetan Jinghu, Teqin, Yangqin, six-stringed zither, Qu flute and Tibetan suona, and appropriately absorbs the erhu, cello, trumpet, trombone, black pipe, oboe and so on.
This kind of mixed small orchestra which is mainly composed of ethnic instruments is divided into the string group composed of Tibetan Jinghu, Teqin, Erhu and violin, the plucked group composed of yangqin and high-middle six-stringed zither, the wind group composed of treble flute, bongo flute, Tibetan oboe, trumpet, trombone, black pipe and oboe, and the bass group composed of cello and bass, and the percussion group composed of Tibetan drums, Tibetan cymbals, crosstalk bells and dama drums. The group is composed of Tibetan drums, Tibetan cymbals, stringed bells and dharma drums.
Shannan's famous Zhaxi Sherpa troupe performed "Prince Nosang" to celebrate the victory of democratic reform. The ancient white-masked Bindonpa troupe gave a special performance for the Tibet Song and Dance Drama Troupe Tsetan Drolma and Haba, who had made a special trip to collect Tibetan opera music.
Zedang troupe re-made costumes, masks, props, and led by the playwright went to Lhasa to learn the Jomulong school repertoire "Suji Nyima". Qusong County Rigu Qu De Monastery and Rigu Xue Village will be acting lama and the masses, with some young men and women and the new Qusong County Tibetan opera team.
Jongjie County Rigu Deqingxue opera troupe resumed performances. Gundeling opera troupe under the guidance of the veteran playwright Mayira Ngawang Lodro, rehearsed a large-scale modern play "Qiangba's Disaster".
Shamba Kailu playwright Dorjee Dhondup organized an amateur Tibetan opera team, and the whole village raised funds to remake the masks and costumes. The Chamdo theater troupe of Chamdo Monastery Achok Zakura, newly compiled performance of "Dhondup Dhondup". Gangcun, Langjelin, Qiangda, Pioneer and other villages in Gonggar County have also established their own Tibetan opera teams.
The Tibetan opera in Lhasa was even more active, with the famous Lhasa Chengguan District Sherpa Tibetan Opera Team established. Lhasa East District amateur Tibetan opera team performed a modern play reflecting the serfs to Lhasa to sue the lord instead of being punished. 1964, only Lhasa City amateur Tibetan opera team there are Xueba Tibetan Opera Team, Barkhor Street Tibetan Opera Team, Jiri Tibetan Opera Team, Drepung Monastery Lama Tibetan Opera Team and so on.
The Tibetan Opera Troupe of the Autonomous Region, in 1966, staged four large-scale traditional plays, Princess Wencheng, Langsa Wenbo, Zhuowa Sangmu, and Nuosang and Yunzhuo, as well as fragments of Suji Nyima and Baima Wenba.
Created small and medium-sized modern theater plays such as "The Favor of the Liberation Army", "Certificate of Happiness", "Farming and Herding Exchange", "Fisherman Banden", "Flesh and Blood Friendship", "Abba Takes the Wrong Way", "Heroic Chamdui", and "Furnace Fire Re-raising".
"The Favor of the People's Liberation Army" absorbed some new techniques in its artistic expression and interspersed many Tibetan songs, dances and folk art performances, which had a very good effect on the performance.
"Nuosang and Yunzhuo" was processed and refined on the basis of the traditional method of performance, and adapted into a script divided into upper and lower episodes, retaining the special structural method of Tibetan opera and the characteristics of square performance, and the performance was a sensation in Lhasa. The art of Tibetan opera was also developed in the whole region.
In the 1970s, the Tibetan Opera Troupe of the Autonomous Region once adapted and transplanted the Peking Opera "The Tale of the Red Lanterns", absorbing and learning from all aspects of foreign opera art, which was of certain significance to the enrichment and development of Tibetan opera.
After the 1980s, the Tibetan Opera Troupe of the Autonomous Region gradually found its own way of development. The creation and performance of Tibetan opera presented a vibrant situation, which greatly promoted the creation and performance of professional Tibetan opera by the autonomous region's Tibetan opera troupe.
The Tibet Autonomous Region Tibetan Opera Troupe adapted and staged a number of traditional plays, and created and rehearsed a number of small- and medium-sized modern plays such as the large-scale historical drama Tangdong Jiebu, Bashi Ba, Ama Gaba, Exchange and Cause and Effect, as well as the large-scale modern drama Cangduo's Destiny and the large-scale play Comprehensive Evening Party, a comprehensive compilation of traditional and modern plays, and so on.
With the development of the times, the Tibetan opera has absorbed some of the strengths of other operas, and gradually formed its own stage art style with rich local flavor.
The art of Tibetan opera mainly comes from early folk art and some traditional plastic arts of Tibetan Buddhism. Such as masks, according to documentary records, the early Tubo dynasty, in folk art performances appeared one after another animal masks and human head and face masks. In the eighth century, when Silent Guardian, Lotus Sangha, Chisong Dezan Shijun Sanzun built the Sangye Monastery, the molding of idols began.
After the democratic reform in Tibet, professional Tibetan opera troupes began to learn and absorb some of the stage performance methods of mainland operas and dramas, and devoted themselves to innovating the traditional square performance devices and creating and developing stage art for Tibetan operas.
After the reform and opening up, the professional Tibetan opera troupes and a few amateur Tibetan opera groups with the conditions appointed and trained a number of full-time stage art personnel, so that the stage art of Tibetan opera was further enriched and developed, and then formed a complete set of stage art with the characteristics of the plaza performances and the traditional art styles of the Tibetan opera such as the scenery, lighting, make-up, effects, masks, costumes, props and installations, etc.
The stage art of Tibetan opera has been developed in the past few years, and the stage art is still in the process of development.
Tibetan opera is mostly performed in the plaza during the daytime, and generally does not use scenery and lighting devices. In the performance venue set one or two scenery, such as the warp beam pole and tied to the warp beam pole on the branch, the table of the box "Chema" and Tangdong Jeb statue or hanging thangka portrait, are used as a fixed props.
Tibet around the folk amateur theater are in the willow forest dam, wheat field or temple yard performance, even in the town theater and auditorium performances, but also completely using the square of the performance method, without curtains and sets, lights only as lighting.
After the democratic reform in Tibet, Lhasa also built up formal auditoriums and theaters. The autonomous region Tibetan opera troupe absorbed and cultivated a number of stage scenery and lighting design, production, management and other specialized personnel, began to reform the Tibetan opera square performance art, to the modern stage art transition and development, and gradually formed a stage art professional team. They designed and produced a lot of set installations with national style and regional characteristics, which made the stage art of Tibetan opera show a brand-new face.
In Tibetan opera, there is no habit of setting up a wardrobe box like other types of Han operas, but the performance costumes are more colorful and have distinctive national style and characteristics of the snowy plateau.
Theatre clothes are mainly based on the ancient Tibetan clothing during the Tubo period, and then evolved through history, absorbing the Mongolian clothing during the Yuan Dynasty and the Qing Dynasty official uniforms in the form of styles developed from.
Chandu opera, Dege theater and more absorbed some of the costume components of the Han opera. The Menba opera is mainly based on the life of the Menba clothing, and obviously influenced by the Tibetan costume.
Tibetan opera in the process of creation, formation and development, and religion has a close relationship with the performance of the story of the play to Buddhism itself and the monks and saints biographies as much, so the play clothes in the religious colors are also thicker.
In the blue mask theater characters worn by the Tibetan national costume, most of the former Tibetan clothing, individual also used in other places of clothing. For example, the maid Smolango of the devil consort Hajang in "Zhuo Wa Sangm" is decorated with post-Tibetan costumes, and the dancer Yama Gendi in "Suji Nyima" wears the Kobo costume.
These roles used in the play clothes, and the story of the plot has nothing to do, only for the spice, rich in dramatic color. Another example is the opening scene of the Blue Mask Theater, where several characters wear special costumes. These costumes are rich, gorgeous, heavy features, color contrast is very strong.