Tibetan opera (distinctive, write comments) Quick, Quick, Quick, Quick, Quick, Quick, Quick, Reward.

China's national operas have a long history and a wide variety. There are 275 operas that can be tested according to the evidence. Tibetan opera, which is popular in Tibetan areas, is a unique drama in the Baihua Art Garden of the motherland. The art of Tibetan opera has a history of more than 600 years, which is more than 400 years earlier than Peking Opera, which is known as the quintessence of China. Known as the "living fossil" of Tibetan culture.

The text is in the order of explaining different aspects of things, and the structure of the article is in the relationship of total-sub-total. Firstly, three juxtaposed sentences are used to summarize the main characteristics of Tibetan opera: "performing with a mask", "performing without a stage" and "a scene can last for three to five days". Next, the legendary story of Tang Dongjiebu, the originator of the mountain, was written in detail. Make a big wish and swear to build a bridge, form the first Tibetan opera team in Tibet, leave 58 iron cable bridges on the Yarlung Zangbo River and become the originator of Tibetan opera at the same time. Then it introduces the characteristics and functions of the mask, an important feature of Tibetan opera. Then briefly explain other characteristics: simple stage; The plot is described by commentary and rap; A program with a fixed opening, plot and ending; Singing skills and movements are rich and colorful; Long performance time, etc. Finally, it summarizes the full text in one sentence, pointing out that Tibetan opera, a national drama art, is inherited and carried forward by teachers. With the author's clear, comprehensive and meticulous description, colorful Tibetan operas and their irresistible artistic charm are presented to readers.

This text is a folk prose with strong knowledge, humanity and interest. On the premise of accurate explanation and intuitive description, it is quite different from Beijing Spring Festival Evening in terms of explanation angle, expression order, expression mode and language style. From the content, Spring Festival in Beijing introduces festival customs, while this paper focuses on the formation and artistic characteristics of Tibetan opera. From the order of expression, the Spring Festival in Beijing takes time as the order, while this paper takes different aspects of things as the order; From the perspective of expression methods, Beijing Spring Festival uses the methods of enumerating numbers, examples, metaphors, metaphors, etc., while this paper mainly uses metaphors, questions, symbols, exaggerations and other methods to illustrate things vividly. From the perspective of language style, the language of the Spring Festival in Beijing is natural, plain, accurate and concise, full of Beijing flavor and intriguing, while the language in this paper is rich and varied, vivid and quite literary.

The purpose of writing this text is to guide students to understand the expression method and language characteristics of this text and learn the vivid expression of the author; The second is to understand the formation and characteristics of Tibetan opera, the unique artistic charm and rich cultural connotation of traditional drama, and the Tibetan culture.

2. Text analysis.

Understanding of (1) sentence.

(1) How many operas are performed with masks in the world?

The expression at the beginning of the text is novel and unique, mainly rhetorical questions, emphasizing the outstanding characteristics of Tibetan operas such as masks. At the same time, it also paves the way for this paper to describe the color, shape and function of the mask.

② Let's talk about the legendary story of Tang Dongjiebu, a Tibetan monk.

This sentence plays a connecting role in the layout of the full text. The three characteristics of Tibetan opera are summarized, and the legendary story of Tang Dongjiebu and the formation of Tibetan opera with "or" as the turning point are introduced. Tang Dongjiebu is the founder and originator of Tibetan opera. Without Tang Dongjiebu, there would be no Tibetan opera. Monk: A highly respected monk (monk). Legendary story: refers to a story with bizarre plot or extraordinary behavior of characters.

At that time, there was no bridge on the Yarlung Zangbo River, countless cowhide boats capsized in the wild horse-like torrent, and many people trying to cross the river were swallowed up by the roaring river.

With concise and accurate language and vivid description, the author reproduces the harsh natural environment at that time, indirectly praises the noble quality of Tang Dongjiebu, explains the ideological roots of his lofty aspirations and vows to build bridges, and also shows that folk art originated from life and came into being according to the needs of the times.

(4) The mask uses symbolism and exaggeration to make the characters stand out and have distinct personalities.

Why has tibetan opera masks been preserved in the long-term development? This sentence gives an accurate answer. There is a causal relationship before and after the sentence: "using symbols and exaggeration" is the reason, and "prominent characters and distinctive personality" is the result. Symbolism: using concrete things to express a special meaning or thoughts and feelings. For example, in Tibetan opera, the white mask represents purity, and the person wearing the white mask is a good person. Exaggeration: in order to stimulate the imagination of the audience, use exaggerated things to express. For example, in Tibetan opera, a half-black and half-white mask is used to describe two-faced figures, and a mask with blue face and fangs is used to describe demons.

They want nothing but the audience.

The purpose of Tang Dongjiebu Tibetan Opera Team is to "persuade people to do good deeds, accumulate virtue, donate money and build bridges with fellow practitioners", so there is not much demand for performance stage and props, as long as there is an audience, it can play a propaganda role.

6 Tibetan opera is like this, handed down from generation to generation.

The original Tibetan opera didn't have a script, and it relied entirely on Master's words and deeds. It was gradually improved during the rehearsal and performance of the troupe, which enabled the Tibetan opera with a history of more than 600 years to be preserved and developed and become a "living fossil" of Tibetan culture.

(2) Understanding of words.

Drama: the type of drama art.

Roar: It can describe the rushing roar of water, and it can also describe people's angry cries.

Swallow: Bite: Bite the swallow.

Magnificent: This lesson refers to the majestic singing.

Living Buddha: This lesson refers to the upper Lama who was reincarnated and succeeded to the throne in Lamaism.

Witch: A woman who pretends to be a ghost and prays for others.

Restrain: Restrain feelings, strength, etc. So that it can't be fully displayed and played.

Dunhou: loyal.

Deduction: a method of reasoning, which deduces conclusions about special situations from general principles. This lesson can be understood by acting and acting.

Drum up: drum up. This lesson refers to the opening of Tibetan opera, which attracts audiences by telling the history of Tibetan opera.

Excellent: excellent: beautiful and comfortable; Alas, modal particles express sighs.

Originator of Mountain Opening: A Buddhist term that refers to the first establishment of a temple in a famous mountain. Founder: the metaphor of the founder. Originally refers to the founder of a cause. This lesson refers to Tang Dongjiebu as the founder of Tibetan opera.

Two sides and three knives: a metaphor for cunning, one face to face and one behind.

Follow one's inclinations: follow: let go; Desire, want, hope. Do what you want to do.

Second, the teaching objectives

1. Read and remember the words "Legend, Roar, Wilderness, Auspicious, Soft, Symbolic, Demon, Terror, Nihility, Laughing, Good at Singing and Dancing, Admiring and Admiring, Being penniless, Duplicity, Wanting Nothing, Doing Whatever You Want".

2. Read the text silently, understand the formation and characteristics of Tibetan opera, and experience the unique charm and rich cultural connotation of traditional drama art.

3. Learn the accurate description and vivid description of the article, accumulate the language, and comprehend the expression method.

Third, teaching suggestions

1. Before teaching this course, students can be arranged to collect relevant information, learn about Tibet and the folk customs of Tibetan compatriots, and learn about traditional operas in China. If conditions permit, students can also be organized to watch relevant audio-visual materials to enrich their understanding of Tibet and drama.

2. Teaching this kind of skimming text needs to be grasped as a whole, and it is not appropriate to dismember the text. The first step is to let students read the reading tips before the text carefully and read independently according to the reading requirements. The second step is to guide students to read the text well, find out from which aspects the article introduces Tibetan opera, and tell in their own words how Tibetan opera came into being and what its characteristics are. In this teaching process, students should be given enough space to read, think and discuss, and the dialogue between students and texts and between students should be promoted. The third step is to guide students to choose their favorite sentences for drawing and marking, exchange ideas (inspiring, good words, written articles and reading methods), and accumulate language. In this process, teachers put the needle on the lead, dispel doubts, encourage inspiration, summarize and refine, and implement it in the cultivation of students' Chinese literacy to improve students' appreciation and evaluation ability.

3. Comparative reading is a good way to cultivate Chinese ability. In teaching, we can discuss the similarities and differences in expression between this article and the Spring Festival in Beijing. Students can explore in the way of group cooperative learning, so that students can promote communication in interaction, learn to cooperate in communication, trigger arguments in cooperation, and activate thinking in debate. In this process, teachers should not only kneel down to talk to students on an equal footing, but also stand up and lead; We should not only cherish the unique feelings of students, but also pay attention to the value orientation of the text.

4. After learning two articles about folk customs, you can practice a little and guide students to write the Spring Festival in their hometown by imitating the expression of the Spring Festival in Beijing. You can also write your own familiar art form by imitating the manifestations of Tibetan opera.

This course is full of knowledge, humanity and interest. Teachers should pay attention to understanding the editor's intention in teaching, highlight key points and break through difficulties according to children's characteristics, and avoid covering all aspects and over-exploring. In terms of knowledge, there is no need to delve into religion, living buddhas, monks and witches. The spirit of Tang Dongjiebu, the originator of Tibetan opera, has not been excavated too much. The key point is to understand the formation and characteristics of Tibetan opera and the methods of expression.

6. There are many good words and sentences in this class, which have a strong literary color. In teaching, we should pay attention to guiding students to contact the context and their own accumulation, infer the meaning of related words, distinguish the emotional color of words in the language environment, experience their expression effect, and adopt effective methods to accumulate words.

Fourth, teaching cases.

Fragments:

Understand the characteristics of art and understand the expression method.

Teacher: What are the characteristics of Tibetan opera? Let's communicate together.

Student: The characteristics of Tibetan opera are generally written at the beginning of the text. Let me read it to you (read paragraph 1-3). From these three natural paragraphs, that is, these three rhetorical questions, we know that Tibetan opera has the characteristics of "wearing a mask", "no stage" and "a scene can last for three to five days without ending"

Teacher: You are good at reading. From the beginning of the author's three consecutive paragraphs, that is, three consecutive rhetorical questions, you summarized the characteristics of Tibetan opera. Students, let's read these three paragraphs together.

Health: The mask of Tibetan opera is also described in detail in paragraph 8- 16 of the text. I will read it to you with my deskmate.

(Read paragraph 8- 16 aloud. )

Health: From here, we can know that in Tibetan opera, the masks worn by people with the same status are basically the same in color and shape. Different colors and shapes represent different identities and meanings.

Health: Let me add. In the natural part of 16, the author also wrote that one of the important reasons why tibetan opera masks was preserved was that the mask used symbolism and exaggeration to make the characters stand out and have a distinct personality.

Teacher: After studying together, the two students reported the division of labor, which let us know the characteristics of Tibetan opera and the reasons for its preservation. Thank you. But how do masks use symbols and exaggeration? Who can elaborate?

Health: Let me tell you. For example, masks use different colors to represent different meanings, white represents purity, red represents majesty, green represents suppleness, yellow represents auspiciousness, and so on, all of which are symbolic techniques. We can also imagine that these masks must be very exaggerated in color, especially in shape. For example, "the demon face has Bluetooth to show depression and terror" and "the mask of the old villagers is sewn with white cloth or yellow cloth, and a hole is dug in the eyes and lips to show simplicity and sincerity", which makes the characters stand out and have distinct personalities.

Teacher: That's a good supplement! Only by knowing the mask of Tibetan opera can we feel the wisdom of Tibetan people and the unique charm of Tibetan opera! Besides masks, what are the characteristics of Tibetan opera? We continue to communicate.

……

Teacher: Students, let's review the whole text. At the beginning, the author wrote the characteristics of Tibetan opera in a rhetorical way, with the formation of Tibetan opera in the middle, and finally described the characteristics of Tibetan opera in detail and vividly. Why does the author write like this? Think about it.

Health: I think this is because the characteristics of Tibetan opera are too distinct, so the author summarized its characteristics at the beginning, with strong feelings in the form of rhetorical questions.

Health: I think the author only briefly introduced the characteristics of Tibetan opera at the beginning. The readers can't know exactly what the characteristics of Tibetan opera are, so we are deeply impressed by the colorful descriptions behind the text.

Verb (abbreviation for verb) related links

1. Tang Dongjiebu (1385— 1464) was a famous architect in Ming Dynasty and the founder of Tibetan opera. Tibetans have always regarded him as the "ancestor" of the opera god who created Tibetan operas and the ironwood craftsman who built bridges, and he is the embodiment of creativity, wisdom and strength in the eyes of Tibetans.

When Tang Dongjiebu was a child, his family was poor and he lived by herding sheep. As an adult, he served as a soldier, did business, and later cut his hair and became a monk. The monk's name is Zhu Sambu. Because he is studious, assiduous and knowledgeable, he has become an accomplished scholar and an enlightened person, and is known as Tang Dongjiebu (meaning "the king on a thousand miles plain"). Tang Dongjiebu personally felt that Tibet has a vast territory, high mountains and dangerous waters, and extremely underdeveloped transportation, which has brought great inconvenience to the production and life of Tibetan people. Therefore, he is not afraid of hard work, wading through mountains and rivers, and widely explaining the meaning of bridging to the people, winning the trust of many people and the support of government officials. Finally, the Qushui Iron Cable Bridge was first built on the Yarlung Zangbo River at 1430.

Later, in order to raise more funds for bridge repair, shipbuilding and road construction, Tang Dongjiebu invited seven sisters of Bai Na family in Qiongjie County, Shannan Province. They looked like fairies and were good at singing and dancing. Together, they formed a chorus. He personally taught them to sing his own works, dressed his clothes in different styles and performed on these beautiful girls everywhere. As a special fund, the money from the agency has mobilized designers, smelting craftsmen and a large number of migrant workers to carry out construction according to local conditions for many years. During his lifetime, * * * built 58 iron chain bridges. People affectionately praised him as "iron bridge living Buddha"

In the process of raising funds and relieving people's inconvenient transportation, Tang Dongjiebu completed the transformation from Buddhist dance to Tibetan opera. He combined the classic biographies of Buddhism with folklore and fairy tales, and created a performing art combining characters, dancing and singing, which gradually dramatized and strengthened the means of expression in the past, separated from religious ceremonies, and formed the embryonic form of Tibetan opera art. Therefore, the Tibetan people regarded Tang Dongjiebu as the originator of Tibetan opera.

1464, Tang dongjiebu died at the age of 79. Tang Dongjiebu has made immortal contributions to the development of Tibet's transportation and the establishment and development of Tibetan opera. People praised him in various forms and commemorated him. Today, in many Tibetan opera performance venues, the audience must first present Hada in front of the statue of Tang Dongjiebu to show their gratitude; In Tang Dongjiebu's hometown, there is even a traditional ceremony. Whenever people watch Tibetan opera performances, they should bring some green oil and hair, and give these gifts to the troupe to show that they should be rubbed on the iron cable with green oil and hair, so as to preserve the iron cable bridge built by Tang Dongjiebu and make it immortal. In addition, in some temples in Tibet, you can often see a portrait or statue of Tang Dongjiebu, with a white beard and a serene and amiable look and an eight-segment iron rope.

2. About Tibetan Opera

Tibetan opera is the general name of Tibetan opera, and it is a comprehensive performing art that expresses the story content in the form of national songs and dances. Historically, Tibetan operas were often accompanied by festivals, temple fairs, fairs, fund-raising and other folk activities, and were mainly performed in market towns, villages or manors in Lhasa, Shigatse, Shannan and Kangqu. Its form and style have strong and distinct Tibetan characteristics and strong and outstanding magical color of snow area.

As a square art form, it is close to the audience and easy to be accepted, which is the biggest feature and advantage of Tibetan opera. The performance is generally divided into three parts: the first part is "pause", that is, the opening remarks; The second part is called "Bear", which is a drama; The third part is called "Tashi", which means blessing and welcoming good luck. Tibetan opera has only one costume from beginning to end, and there is no makeup, mainly masks. Thirteen traditional Tibetan operas, including Princess Wencheng, Qujienuosang, Maiden Lanza, Sunima and Baima Wenba, mostly contain Buddhist contents. Tibetan folk Tibetan opera troupes are very common. You can see the rural squares anytime and anywhere, or set up big tents or pull up big canvas, and Tibetan opera teams will perform live. People around Fiona Fang Shili will come to see it, and it is often packed.

Tibetan opera is known as the "living fossil" of Tibetan culture and is currently being declared as a world cultural heritage.

3. Other local dramas

4. Summary: The art of Tibetan opera, which has a long history of thousands of years, has experienced repeated trials and tribulations. Today, it is like a saussurea involucrata blooming on the Qinghai-Tibet Plateau, deeply rooted in people in Xizang's heart. Through it, people in Xizang praised the truth, goodness and beauty of life and lashed the false, evil and ugly in reality. It can be said that she is a yardstick for Tibetan people to measure their lives and an art created by plateau children.