How did Tibetan opera develop in the new period?

From 65438 to 0960, after the establishment of Xizang Autonomous Region Tibetan Opera Troupe, the band began to expand, and gradually used various domestic national musical instruments and individual western musical instruments, and sang Tibetan operas with string accompaniment.

The band system of Tibetan Opera Troupe in the autonomous region is mainly composed of Tibetan Jinghu, Teqin, dulcimer, lyre, Qu Di and Tibetan suona, with appropriate absorption of erhu, grand violin, trombone, clarinet and oboe.

This small mixed band, which is mainly composed of ethnic instruments, is divided into string group composed of Tibetan Jinghu, Teqin, Erhu and Violin, plucked music group composed of dulcimer and high school lyre, wind music group composed of Qu Di, Bangdi, Tibetan suona, trumpet, trombone, clarinet and oboe, and low music group composed of cello and double bass.

To celebrate the victory of democratic reform, the famous Tashi Sheba Troupe in Shannan Province performed prince nuosang. The ancient White-faced Bindunba Troupe performed a special performance for the Tibetan Song and Dance Troupe Cai Danzhuoma and Baja, who came here to collect Tibetan opera music.

Zedang Troupe re-produced costumes, masks and props, and went to Lhasa to study the Juemulong drama Sujinima under the leadership of the dramatist. The lamas and the masses who can perform in the Rigu Qude Temple and Rigu Xue Cun in Qusong County, together with some young men and women, have set up a new Tibetan opera team in Qusong County.

Qiongjie County Riwu Deqing Snow Troupe resumed its performance. Under the guidance of mayila Awangluozhuo, an old dramatist, the Gondelin Troupe rehearsed a large-scale modern play The Disaster of Jamba.

Bazar's dramatist Dorje Dunzhu organized an amateur Tibetan opera team, and the whole village raised funds to remake masks and costumes. The newly arranged performance "Dun J?tunheimr Pearl" by Qamdo Theatre Company of Qamdo Temple in Ahazhacang. Gangcun, Langjielin, Qiangda, Xianfeng and other villages in Gongga County have also set up their own Tibetan opera teams.

Tibetan Opera in Lhasa became more active, and the famous top student Tibetan Opera Team in Chengguan District of Lhasa was established. The amateur Tibetan Opera Team in Dongcheng District of Lhasa performed a modern drama reflecting that serfs were punished in Lhasa instead of suing their lords. During the period of 1964, only the amateur Tibetan Opera Teams in Lhasa included Sabah Tibetan Opera Team, Barkhor Street Tibetan Opera Team, Jiri Tibetan Opera Team and drepung monastery Lama Tibetan Opera Team.

From 65438 to 0966, the Tibetan Opera Troupe of the Autonomous Region staged four large-scale traditional plays, Princess Wencheng, Langsawingbo, Zhuowasam, Nuosang and Zhuo Yun, as well as fragments of Sujinima and Baimawenba.

He has created small and medium-sized modern dramas, such as the kindness of the People's Liberation Army, the certificate of happiness, the exchange of agriculture and animal husbandry, the fisherman Banden, the brothers of flesh and blood, Abba going the wrong way, the hero occupying the pile, and the resurgence of fire.

The kindness of the People's Liberation Army has absorbed some new techniques in artistic expression, and interspersed with many Tibetan songs and dances and folk art performances, and the performance effect is very good.

On the basis of traditional performances, Nuosang and Zhuo Yun were refined and adapted into two plays, which kept the special structure of Tibetan opera and the characteristics of square performance, and the performance caused a sensation in Lhasa. Tibetan opera art has also been developed in the whole region.

In the 1970s, the Tibetan Opera Troupe of the Autonomous Region adapted and transplanted the Peking Opera "The Story of the Red Lantern", absorbing and drawing lessons from various factors of foreign opera art, which has certain significance for enriching and developing Tibetan opera.

After 1980s, Tibetan Opera Troupe in the autonomous region gradually explored its own development path. The creation and performance of Tibetan operas are full of vitality, which greatly promotes the creation and performance of professional Tibetan operas by Tibetan Opera Troupe in the autonomous region.

Xizang Autonomous Region Tibetan Opera Troupe has adapted and staged a number of traditional plays, and also created and rehearsed a number of small and medium-sized modern plays, such as large-scale historical plays Dong Tang Jeb, Bathba, Amagaba, Exchange and Cause and Effect, as well as large-scale modern plays "Destiny" and large-scale drama "Variety" which combine tradition and modernity.

With the development of the times, Tibetan opera has continuously absorbed some advantages of other operas and gradually formed its own stage art style with strong local customs.

Tibetan opera art mainly comes from early folk art and some traditional plastic arts of Tibetan Buddhism. Such as masks, according to documents, in the early days of the Tubo Dynasty, animal-shaped masks and head masks appeared in folk art performances one after another. In the eighth century, when peanuts were connected and temples were built, they began to shape statues.

After the democratic reform in Tibet, professional Tibetan opera troupes began to learn some stage performance methods of absorbing mainland operas and dramas, and devoted themselves to innovating traditional square performance devices and creating and developing Tibetan opera stage art.

After the reform and opening up, professional Tibetan opera troupes and a few qualified amateur Tibetan opera groups appointed and trained a group of full-time stage artists, which further enriched and developed the Tibetan opera stage art, and then formed a set of Tibetan opera stage art with square performance characteristics and traditional artistic style, such as scenery, lighting, makeup, effects, masks, costumes, props and installations.

Tibetan operas are mostly performed in the square during the day, and there are generally no scenery and lighting devices. Put one or two scenes in the performance venue, such as prayer flags and branches tied to prayer flags, boxes "chariots and horses" on the table, statues of Tang Dongjiebu or hanging portraits of Thangka as fixed props.

Folk amateur troupes from all over Tibet perform in Liulin dam, threshing floor or temple yard. Even in the town's theaters and auditoriums, they all use the square method, without curtains and scenery, and the lights are only used for lighting.

After the democratic reform in Tibet, Lhasa also built a formal auditorium and theater. The Tibetan Opera Troupe of the Autonomous Region has absorbed and trained a group of full-time personnel in the design, production and management of stage scenery and lighting, and began to reform the performing arts in the Tibetan Opera Square, making a transition and development to modern stage art, and gradually formed a professional stage art team. They have designed and produced many scenery installations with national styles and regional characteristics, which has made the stage art of Tibetan Opera take on a brand-new look.

In Tibetan opera, there is no habit of setting suitcases like other operas of Han nationality, but the costumes are rich and colorful, with distinctive national style and characteristics of plateau snow area.

Traditional Chinese opera costumes are mainly based on Tibetan costumes in the ancient Tubo period, and have evolved through historical evolution, absorbing the shapes and styles of Mongolian costumes in the Yuan Dynasty and official uniforms in the Qing Dynasty.

Changdu Opera and Dege Opera also absorbed some costume elements of Han Opera. Menba opera is mainly based on the life clothes of the Menba nationality, which is obviously influenced by Tibetan costumes.

In the process of its emergence, formation and development, Tibetan opera has a close relationship with religion. The stories in the repertoire are mostly Buddhist stories and biographies of monks and saints, so the costumes are also full of religious colors.

Most of the Tibetan costumes worn by the characters in the blue mask play are Tibetan costumes, and some of them are from other places. For example, in Jowasam, Smolango, the maid of the magic princess Ha Jiang, decorated the back of Tibet, and in Sujinima, the dancer Yamagandi wore work clothes.

The costumes used by these characters have nothing to do with the story, just to adjust and enrich the plot. For example, several characters at the beginning of the blue mask play are wearing special clothes, and so is it. These costumes are rich, gorgeous and dignified, and the color contrast is very strong.