A Study Of Female Images In Tibetan Opera From The Perspective Of Gender Poetics

Tibetan opera is an important part of Chinese opera.It is deeply rooted in the vast and fertile ethnic soil of the Tibetan people,and it shows the ethnic characteristics,cultural connotations,and female concepts of the Tibetan society.The plot is simple and mellow,magnificent,and the female image it creates is even more popular.This article mainly analyzes the female images in the five dramas of the eight traditional Tibetan dramas,"The King of Norsang","Zhimei Gengdeng","Sujinima"," Langsa Wenbang",and "Drowa Sam".Examine the cultural connotation of gender poetics reflected in the shaping of these female images,and combine the content of field investigations to fully explore the connotation of female image shaping in traditional Tibetan operas,and further explore the meaning and value of traditional Tibetan operas.This article uses text research,interdisciplinary research,comparative research,and field surveys.Except for the introduction,the first part starts from the content of traditional Tibetan drama,and divides the female images in the five Tibetan operas into three main categories,namely,good-looking,superbly immortal Buddha image,gentle and moving,ordinary folk women's image and The duality combines the female images of good and evil to explore the richness of female images of traditional Tibetan opera.The second part explores the source of female image and the cultural pursuit of gender poetics.There are two main sources of Buddhism in Tibetan opera.One is the Buddhist story,and the other is the Buddhist myth.Therefore,the female images of traditional Tibetan opera,including dualistic and complementary female images of good and evil,have strong Buddhist cultural characteristics.Divinity and Buddhahood are the prominent features of many female images.Classification of Tibetan drama stories through AT taxonomy,comparing Tibetan drama story types with Buddhist Bunsen stories and folk story types,and exploring the differences in the three "typed narratives",further exploring the rich source of women's images Sex,the complexity of the image.In the traditional Tibetan opera,the shaping of the richness and complexity of female images that combine the beauty of humanity,Buddhism,and divinity has broken the traditional gender role positioning and the order of the sexes.It is the concept of gender harmony and equality in literature and art.The typical presentation of the film is mainly reflected in two aspects: first,from the analysis of the androgyny theory,the female modeling of Tibetan opera subverts the positioning of female “feminine beauty” from a male-centric perspective;second,the female of Tibetan opera has the same literary healing function as the male,To meet the people's pursuit of spiritual liberation,and questioned and challenged the functional orientation of " assist the husband and bring up children " in traditional female cognition.In the third part,based on the perspective of gender poetics,we explore the main reasons why the image of women in traditional Tibetan operas reflects the cultural concepts of complexity and richness,as well as equality and harmony: the primitive totem concept of Tibetan society(women's worship in matriarchal society)The influence of culture,the principle of identity and the concept of self-deification,the influence of Buddhist culture(the concept of Buddhism religion,the concept of Mahayana Buddhist women,the stereotype of gender aesthetics under the influence of Tantra),and the unique gender relationship in Tibetan society—the influence of partnership Wait.In the fourth part,through the differences in the concept of Chinese and Tibetan dramas,the differences in the image of women,and the differences in the perception of female images in Tibetan operas from different perspectives,combined with the relevant content of field investigations,the female images and the gender in cognition are influenced by the concepts of Tibetan dramas.The infiltration of poetic culture is analyzed,and the cultural connotation of gender poetics embodied in the image of females in Tibetan opera is further explored.At the same time,I am concerned about the weakening of the concept of "emphasizing instrument and light play" in the inheritance of Tibetan opera,and hope that through the study of the image of women in Tibetan opera under the perspective of gender poetics,it will inspire people to re-examine the relationship between the sexes.In the process of protection,the cultural connotation of Tibetan opera is fully tapped,and the inheritance of traditional Tibetan opera drama concepts is enhanced,so that more people see the great value,deep cultural connotation and strong vitality rooted in the cultural soil of Tibetan people.