The Tibetan opera is called "Ajilam" in Tibetan, which means "fairy sisters". According to legend, Tibetan opera was first performed by seven sisters, the content of the play is mostly a mythological story in the scriptures, so it is named. Tibetan opera originated in the 8th century Tibetan religious art. 17th century, from the monastery religious rituals separated from the gradual formation of singing-based, singing, chanting, dance, table, white and technology and other basic programs combined with the life of the performance. The Tibetan opera has a high-pitched and majestic singing voice, basically due to the people who set the song, and there are people's voices to help and sing each line. The original Tibetan opera is a square drama, only a drum and a cymbal accompaniment, no other instruments.
The performance is generally divided into three parts, the first part of the "Dun", mainly the opening performance of the gods of song and dance; the second part of the "male", the main performance of the main play legend; the third part is called "Zazhi The third part is called "Zhaxi", which means blessing and welcoming. The traditional repertoire of Tibetan opera is said to have "thirteen big this", often staged, namely, "Princess Wencheng" "Nuosang law king" "Langsa Wenbeng" "Zhuo Wa Sangm" "Suji Nyima" "Baima Wemba" "Dunyue Dondrue" "Zhimei even more Deng" and so on the "eight Tibetan opera", in addition to "Ri Qiongwa", "the first part", "the second part", mainly performing the main opera legend; the third part is called "zazhi", meaning blessing and welcoming good luck. In addition, there are "Ri Qiong Wa", "Cloudy Prince", "Jingba Qinbao", "Debadenba", "Suibai Wangqu" and so on, each play contains more Buddhist content. The costume of Tibetan opera is only one set from the beginning to the end, and the actors do not make up, mainly wearing masks. Tibetan opera has white mask theater, blue mask theater points. Blue-masked opera in the process of circulation due to different regions and the formation of Jue Mulong Tibetan opera, very Ba Tibetan opera, Shamba Tibetan opera, Jiang Gaer Tibetan opera four major schools Before the peaceful liberation of Tibet, the Tibetan local government of the folk famous professional, semi-professional theater performances of the repertoire, including scripts, performance forms, lyrics, etc. review and control is very strict; on the annual participation in the Snowdon Festival performances of the theater classes appear in the order of precedence, the performance of the play has been strictly stipulated The order of appearance and repertoire of the troupe participating in the Xeton Festival every year were strictly regulated; the specific forms of performance were also regulated according to the intention of the Kasha for each repertoire's singing, recitation, tableau, dance, technique, etc. Anyone who violated or failed to meet the requirements was subject to severe punishment. Most of the Tibetan opera artists are serfs, in addition to the performances, year-round to rely on labor and wandering to sell art for a living. The only official direct management of the Jue Mu Longba (blue mask theater performance troupe), only in the region can be wandering around the right to sell art, every winter, there are one to three months of time by the actors to make their own living.
The peaceful liberation of Tibet in 1951. China **** Tibet Work Committee Propaganda Department that is looking for Jyogi Lomba contact, the central representative Zhang Jingwu and Tibet Work Committee in charge of Zhang Guohua, Tan Guan San, Fan Ming and other leaders have visited the Jyogi Lomba Tibetan opera artists. In 1951, on behalf of the Tibetan opera artists, Jyogi Lonpa's master, Zhaxi Dunzhu, made a request to Zhang Jingwu, hoping to formally establish a revolutionary Tibetan opera troupe in order to obtain the direct leadership of the Chinese ****productivity party. 1956, when Chen Yi led a delegation from the central government to Lhasa to congratulate the establishment of the Preparatory Committee of the Tibet Autonomous Region, Jyogi Lonpa found the delegation to report on the situation of the troupe, and organized the performances of Tibetan operas, which were praised. From then on, the Publicity Department of the Work Committee and the Cultural and Educational Department of the Preparatory Committee for the Autonomous Region often organized performances of Tibetan opera by Jomolungpa on various important occasions. In 1956, the Tibetan Workers' Committee also organized some of the artists to go to Beijing with the Tibetan Literature and Art Delegation to participate in the National Literature and Art Performances. After the performance, Jomolung Tibetan opera stuntman Tsering Gengba was also left as a member of the Chinese youth delegation to Moscow in March 1957 to participate in the Sixth World Youth Gala, he starred in the "Tibetan Reba Dance" won the Silver Medal of the Gala.
After the implementation of democratic reforms in Tibet in 1959, Tibetan opera ushered in a new opportunity for development. In April and May of that year, Zhaxi Dunzhu rushed back to Lhasa from his hometown and submitted a report to the People's Government, requesting that the Jomolungpa be reorganized into an artistic group under the leadership of the People's Government. After being approved, he brought back more than forty Jomolumba artists who had been scattered all over Tibet, and set up the Lhasa Tibetan Opera Team in August of the same year. On October 1 of the same year, the Tibetan Opera Troupe took part in the celebration of the 10th anniversary of the founding of the country with the play "Princess Wencheng", which was dedicated to the performance by the professional arts groups. 1960 saw the establishment of the Song and Dance Troupe of Tibet, of which the Tibetan Opera Troupe became one of the three performing groups. 1962 saw the founding of the Tibetan Opera Troupe of Tibet. By 1966, the Tibetan Opera Troupe had staged "Princess Wencheng", "Rangsa Wenbeng", "Zhuo Wa Sangm", "Nuosang and Yunzhuo", four large-scale traditional dramas and "Suji Nyima" and "Baima Wemba" segments; it created a number of small and medium-sized modern opera plays, such as "the kindness of the People's Liberation Army", "Certificate of Happiness", "Agricultural and Animal Husbandry Exchange", "Heroic Chamdui", and "The Friendship of Blood and Flesh", etc. At the beginning of 1980, the The Tibetan Opera Troupe of the Autonomous Region adapted and performed the large-scale traditional drama Princess Wencheng. In May of the same year, the Tibet Autonomous Region held the first amateur Tibetan opera performance, in which more than two hundred Tibetan opera actors representing different styles and genres performed traditional plays such as Zhuo Wa Sangm, Nuosang Dharma King, Suji Nyima, and modern plays such as Little Hero of the Snowy Mountains. In the same year, the autonomous region Tibetan opera troupe adapted and rehearsed the Tibetan drama "Rangsa Wenbeng", and went to Beijing to participate in the national minority arts and cultural performances, by the state nationalities affairs commission and the ministry of culture awards
The mask of the good - white (white on behalf of the pure)
The king's mask - red (red on behalf of the majestic)
King's mask -Red (red stands for majesty)
Mask of the Princess - Green (green stands for suppleness, freshness)
Mask of the Living Buddha - Yellow (yellow stands for auspiciousness)
Mask of an old peasant - white or yellow, with eyes and a hole for the mouth (representing the simplicity of old peasants)
Mask of a witch - half black and half white (symbolizing her two-faced character)
Mask of a demon --green face and fangs (to symbolize repression and terror)