The process of the formation of Tibetan opera
After continuous development and improvement, Tibetan opera has formed its own set of systematic and complete art form after the 17th century, known as a unique type of Chinese opera, and widely circulated in the Tibetan area, loved by Tibetan compatriots. In the process of circulation for hundreds of years, Tibetan opera has appeared many traditional repertoire, and the famous eight Tibetan operas have been performed for a long time so far. The performance time of each play varies, short as long as a few hours, long can be performed for several days, but each play can generally be divided into the prologue, the main play, and the farewell blessing ceremony of the three major parts.
Due to the differences in environmental conditions in different regions, the Tibetan opera also gradually formed a variety of schools, mainly belonging to the old school of white masks and belonging to the new school of blue masks, as well as one-act plays, the current blue masks have the greatest impact. Wearing masks as the actor's facial make-up, is a major feature of Tibetan opera, but as one of the Tibetan opera genre in southern Qinghai Ando Tibetan opera some troupes have mostly changed to direct oil paint on the face make-up, and will sing, white, dance more closely together, enhancing the dramatic effect.
Before liberation, every Xuedong Festival, Tibetan opera troupes from all over the world need to come to Lhasa to support the ___ and local government officials to present plays. These to support the Tibetan opera troupe became the backbone of the amateur theater. And each region of the troupe, due to the history, geography, language, style, attainments of the difference, the formation of a different style of school.
Among these schools, there are white masks belonging to the old school, there are blue masks belonging to the new school, and there is also a one-legged opera.
The old school of white masks, there are poor knot of Bintongba, Dulong Deqing Lang Zewa, Naidong Zaxi Xueba and so on. Because the old school is wearing a white mask, so it is called the white mask school. Their theater movements and singing are relatively simple, less influential.
The new school is a very big bar, Jiang Gaer, Jomulong, Shamba four major troupes, the beginning of their performances, by wearing blue masks, so it is called blue masks faction. The new school of performing arts has a greater development, the impact is also relatively large, slowly replaced the old school.
Improvement of Tibetan Opera
After the peaceful liberation of Tibet, the government of the autonomous region formed the Tibet Autonomous Region Tibetan Opera Troupe on the basis of the original Jomulon Tibetan Opera Class, which took up the task of inheriting and developing Tibetan opera, and successively organized and performed some traditional operas such as "Rangsar Wunbeng," "Princess Wencheng" and "Prince Nuosang" and at the same time created and performed a number of plays with modern themes, which were based on the original artistic characteristics of the opera. On the basis of maintaining the original characteristics of the square art, the theater stage art practice, so that the Tibetan opera from the square to the stage, with lights, sets and costumes, but also began to use orchestral accompaniment.
After the 1980s, Qinghai Tibetan Opera Troupe was established in Huangnan, and created and performed excellent plays such as "Yiluo Fairy", "The Messenger of the Tibetan King" and "Golden Dawn", which had a great influence at home and abroad. The new repertoire has brought new vitality to the Huangnan Tibetan Opera, for example, the accompaniment of "The Fairy of Ideal Music" has both six-stringed and other traditional Tibetan musical instruments, and also joins the large-scale modern mixed orchestra based on folk music, which, while forming the atmosphere of interludes of music, can directly accompany the singing, and has changed the situation that the Tibetan Opera of Tibet uses one drum and one cymbal only for the rhythm of the dance and the performance movements, and seldom for the singing accompaniment. Improved Huangnan Tibetan opera sets and stage art is magnificent, magical and beautiful, refreshing.
The performance form of Tibetan opera
The performance of Tibetan opera is divided into three parts: the opening ceremony of the play "A Ruowa", the main play "Xiong" and the auspicious closing ceremony "Zhaxi". ". The opening ceremony is also known as "Wenbaton" or "A Lu Wenba", the contents of which is mainly a net field of sacrifice, praying to God to drive away evil spirits, pray for blessings, and introduce the plot. Generally, there are two characters in the show: two in Kailu, seven in Wenba and seven in Ram. Legend has it that these three characters evolved from the characters in the play "Qujie Luosang". Kailu is a prince, Wemba is a fisherman or hunter, and Ram is a fairy. The performance is first Wenba wearing a mask and singing and dancing, and then Kailu led a group of nymphs out singing and dancing, to introduce the actors, explain the plot of the play, recruiting the audience. "Xiong" is the main play, first by the "Wenba Ge more" (i.e., the playwright) with the rapid-fire rhyming introduction story plot, location, environment, character modeling, singing, etc., and then the characters on the stage. Performance time is as long as three days and three nights, or even six or seven days; short of two or three hours, all controlled by the playwright to decide.
The performance format: all actors, regardless of whether they play the role of the play, all out, in a half circle, when it is their turn to perform, that is, out of the line performance, the rest of the time to participate in the accompanying singing and dancing. The basic performance format is: first, the playwright introduces a section of the plot, and then a character comes out to sing a section, and then all the actors **** with the dance or performance skills, and so on. The performance is not divided into acts and scenes, and the plot interpreter and the accompanying singers and dancers actually play the role of dividing the acts. Since traditional plays are generally classics that have been handed down for hundreds of years, or even centuries, most audience members are familiar with the characters and storylines of the plays. They watch the performance mainly to appreciate the singing, dancing and stunts in the play. As the plot is introduced by the playwright, the characters in the play can concentrate on singing or performing stunts. Through the skillful arrangement of the playwright, a moving story, beautiful singing, stunts, and have the same actor to help the voice of the exquisite art form on display in front of the audience. "Zhaxi" is a Tibetan opera performance at the end of the collective song and dance, meaning blessings and good luck.
Singing (Rangda):
All of the local Tibetan national operas and dramas sing biographies of various people as their main content. In order to distinguish between songs and operas, it is customary to call opera singing "Rangda" (meaning biography). Tibetan opera singing high, loud and clear, are free rhythm of the loose board. The use of singing is mainly in accordance with the identity of the characters in the play to determine, and special songs dedicated, shall not be casually borrowed. Tibetan opera singing mainly has: long tune [Darren], in the tune [Darzhen], short tune [Datong], sad tune [Juelu], song and opera mixed cavity [Harmony horse], rap mixed cavity [Harmony horse when wood] and so on. Each singing voice can generally only sing seven words to nine words two sentences, individual singing words up to the number of words shall not exceed thirteen. The number of words and phrases and the number of words can be unrestricted.
Dance (Xiaozhuo):
The Tibetan opera is basically a square play, singing and dancing is a prominent feature of Tibetan opera. Dance and the plot often has no direct relationship, mainly to set the atmosphere of the performance on the field. Only a few movements in the dance have some kind of symbolic meaning, and more imitation of labor, life and animal movements.
Rhyme (Xiong Xieba):
It is a kind of rhyme similar to the fast board and the counting board, which is mainly used in the occasions of the drama explainer to read and speak the drama, and introduce the actors and actresses to come out for the performance, etc.
White is a kind of rhyme which is similar to the fast board and the counting board.
White (to the card):
The Tibetan opera in the past, generally rarely used in the spoken word, even if the use of comedy characters used to gags, but in the later performances in order to enrich the means of performance, to facilitate the audience to understand the plot, has been appropriately increased in this kind of white.
Table (Langju):
refers to the performance. Tibetan opera in the performing arts is relatively simple, pure and simple. Many of the roles are performed in masks, so the actors do not pay much attention to the performance of facial expressions, and there is less communication between the roles.
Technique (Lvze):
refers to the dance techniques and martial arts stunts in Tibetan opera. This part of the performance is mostly absorbed from folk art forms.
Harmony:
refers to the interspersed performances of folk songs and dances. It is a folk song and dance and Tibetan opera dance, singing and drum and cymbal rhythms combined to form a unique form of performance. But it is not directly related to the plot.
The Tibetan opera costumes are very simple, the performance from beginning to end only for a set, no longer change in the middle. Actors generally do not need to disguise, mainly by masks. Before the peaceful liberation of Tibet, Tibetan opera performances often smeared the face with tsampa noodles or pot smoke black when performing the roles of the grassroots working people. After the peaceful liberation of Tibet, especially after the establishment of the Tibetan Opera Troupe of the Autonomous Region, many attempts have been made in character modeling, such as moving the patterns on the masks directly to the face to become a kind of face paint, or comparing the characters on the murals to disguise themselves, and sometimes using the disguise of the drama. But the Tibetan opera itself has the traditional characteristics of the character masks are still preserved.
Tibetan opera in hundreds of years of performance practice, gradually formed a relatively fixed program.
The performance of Tibetan opera is generally a square play, and a few stage performances. Performance, makeup is relatively simple, in addition to wearing masks, the other is the general powder and red fat, there is no complex face.
The musical instruments are also relatively simple. There is only one drum and one cymbal for percussion, and there is one person who introduces the development of the plot to the audience with a quick board during the performance. People in the drama of the white is very little, the actor concentrated on chanting, due to the square performance, the actor's singing voice is more high and loud, dragging cavity is also more, showing the rough and powerful character. Backstage generally have help, the form is similar to the Sichuan opera.
Tibetan opera singing a lot, roughly divided into the expression of joy in the long tone, the Tibetan language called "Jue Ren"; the expression of pain and sorrow in the sad tone, the Tibetan language called "Jue Lu"; the expression of the narrative of the short tone, the Tibetan language called "Party Tong" and so on. "
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