The Narrative Research Of The Eight Traditional Tibetan Operas

Among the Chinese minority operas,the Tibetan opera is everlasting and still blooms in the snowy plateau.In the 17 th century,it broke away from religious art and experienced the processing and creation of modern artists to shape a set of performance form including songs,dances,recitation and acrobatics,and widely spread in Tibet and Tibetan areas of Gansu,Qinghai,Yunnan,and Sichuan.The eight traditional Tibetan operas are the most popular,the more performed and adapted dramas since the emergence of Tibetan operas,including Princess Wencheng and Princess Chizun,Zhimei Gengdeng,Sujinima,Dunyue & Dunzhu,Prince Nuosang,Langsa Wenbeng,Baima Wenba and Zhuowa Sangmu,these plays have become the classics of Tibetan opera in the hundreds of years of inheritance and evolution,the script is becoming more and more literary,with a wide range of readers and audiences have unique artistic value in plot structure,character image,language and performance program.2019 is the tenth anniversary of the selection of the Tibetan Opera.Standing on a new node,the author attempts to find and excavate the great charm of Tibetan opera art from the perspective of structuralism and related theories.The article is intended to be developed in four chapters.The first chapter is based on Propp's function theory and Gremas' s role model theory,and summarizes the roles and action functions of the eight traditional Tibetan plays;Chapter 2 relying on Levi-Strauss' s mythical dual organization theory,from the universal values and causes of Tibetan people,it summarizes the narrative mode and character image mode of Tibetan drama narrative;Chapter III starts from the eight traditional Tibetan Starting from the structure of the playbook,combining the narrative causes of the Tibetan opera's background,development process,and the influence of blending with other cultures,it summarizes the characteristics of the eight traditional Tibetan operas in the script structure and performance structure.Take Cassirer's language is metaphor and Hillis Miller's view of repetition to analyze the large-scale rap in Tibetan dramas and reveal their strong literary and narrative nature.When using modern theory as a tool to perceive the deep meaning behind ancient Tibetan opera stories and discover the unique value of Tibetan art,we can better understand the collision of modern science and ancient culture.While lamenting the extraordinary charm of traditional Tibetan opera,we have to Facing the development and future of traditional Tibetan opera,therefore,with the analysis of the narrative characteristics of the eight traditional Tibetan operas to provide art for the new era of Tibetan opera Method and reference paradigm,and expand the application of narratology theory.