On The Rellgious Features And Secular Features For The Tibetan Opera

Brief Introduction:Tibetan Opera, considered to have unique Tibetan customs and the opera system of minority nationalities with typical snow-land features, absorbs the quintessence of Tibetan culture and receive the favor of Tibetan people.With the increase of "Tibet craze", Tibetan Opera becomes the central issue to the scholars. Moreover, the research for the forms of expression about Tibetan Opera is regarded as the point at issue. For this issue, nowadays, there are three representative viewpoints in the academic circles.1. Mr.Bian Dor in his thesisæ¡®ive the True Features to TibetanOpera-----On the Origin, Development and Artistic Features of TibetanOpera, points that Tibetan Opera appeared in an embryonic form as white-mask Tibetan Opera in 8 A.D, and it has no relationship with Tibetan Opera.2. Mr. Qu Louyi in his book-----Nationalities' Nuo Opera. ( a kind ofprovincial opera featuring masked dancing )?the mysterious and peculiar opera world, states that Tibetan Opera is a type of traditional Chinese Nuo Opera system.3. Mr. Lion Zhiqun advances that white-mask Tibetan Opera experienced three stages: Ya Nuo opera as an early stage, Nuo Opera as a middle stage, later Nuo Opera as a later one.Through the study of the works above , 1 put forward my own opinion: Tibetan Opera is a dramatic art with religious and secular features integrated My paper will prove the thesis on the three aspects:1. Not only every step of its emergence and development, but the cultures of religion and common customs affect Tibetan Opera as well.2. The plays of Tibetan Opera reflect its religious and secular features in style and in content3. In the social cultural environment where gave birth and maturity to Tibetan Opera, there is a universal social reality that is the religious and secular features integrated.Because of the existence of the phenomenon, it raised the forms of expression of Tibetan Opera and made it possibilitiesThis thesis attempts to probe an accurate orientation of the forms of expression of Tibetan Opera. Meanwhile, it will supply new angles of view or thoughts to the scholars of Tibetan Opera.