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在我国百花盛开的艺苑里,藏剧是一枝具有独特风格的戏剧之花。早在十四世纪末,藏族人民就在民间歌午的基础上,运用戏剧手法来表现一定的故事情节;到了十七世纪,藏剧就发展成为有广泛群众影响的民族剧种。经过五百多年的长期演变,藏剧拥有觉木隆、炯巴、江嘎尔、扎西雪巴、宾顿巴、尼木娃、香巴、萨迦霞郭娃(以上均在西藏地区)以及巴扩(四川)夏河(甘南)等许多著名演出团体,代表着不同的风格流派,活跃在辽阔的藏族地区。藏剧有十几出大戏和若干小戏,大戏都有手抄剧本,是与同名的传记、故事并行的戏剧文学作品。其中有反映历史上汉藏关系的《文成公主》,也有在一定程度上描写西藏社会矛盾的《朗
In the blooming garden of art in our country, Tibetan drama is a flower with a unique style. As early as the end of the fourteenth century, the Tibetan people used the technique of drama to represent certain stories on the basis of folk song noon. By the seventeenth century, Tibetan drama developed into a national drama with a broad mass of influence. After more than 500 years of long-term evolution, the possession of possession of wood in Tibet, Jiongba, Jianggar, Zhaxi Xueba, Pinangba, Niu Wa, Shambha, Sakya Guo Kwok (all in Tibet ) As well as the Pakistani expansion (Sichuan) Xiahe (Gannan) and many other famous performing groups, representing different genres, active in the vast Tibetan areas. There are dozens of Tibetan operas and a number of small operas in Tibetan dramas. The dramas have their own copycat scripts. They are dramatic literary works that are parallel to biographies and stories of the same name. Among them are “Princess Wen Cheng”, which reflects the historic Sino-Tibetan relations, and "Lang, who describes the social conflicts in Tibet to a certain extent