Variation And Adherence:Study On Inheritance Of Nan Mu Te Tibetan Opera

In this paper, the main research object is the Nan Mu Te, which is a kind of Tibetan Opera that is popular in Amdo Tibetan dialect. Placing Nan Mu Te into its historical and cultural context, we study on the inheritance mechanism of the opera. The opera sprouts under the influence of the traditional Tibetan opera "Ajie Ram", and breeds from unique regional culture in Amdo Tibetan area, and eventually forms the opera to serve the monks of Rongwo Monastery as a way of self-entertainment after Summer Required Course, while in Labrang Monastery, the opera is mainly for bringing safe and health on the snowy plateau. The religiosity of the Opera is formed on the basis of theatrical troupe system (A cast made up by monks) and moral value system (Mainly for doctrinal propagation); The opera assimilates a good deal of melody and tone from folk songs including singing style, dance and instrumental music, which reveals folk characteristics of the opera in the aspect of note; The narrative theme of the opera embraces love, kinship and daily life, which is an another embodiment of its folk characteristics. Influenced by the regional culture of Amdo Tibetan Aera, the Opera absorbed and integrated artistic technique of expression from traditional Peking Opera. And through the continuous artistic practice formed its own unique expressive styles. The changes during its inheritance is the mode of action for the opera to inherit. Because of the change of its dissemination goal (Gifting, praying and Sharing), the opera renovated its path of propagation (Temple to temple, temple to folks and folks to folks) which is quite helpful to extensive spread of the opera. Pluralistic tendency of its functional roles meets the different demands of people from all walks. Taking the opera as ritual practice to finish self-purification and study, to get spiritual comfort and to entertain, people inherit outstanding culture and build up self-confident over regional culture. Casts made up by monks, villagers, professional troupe and students become the carrier of the cultural inheritance, which is quite beneficial to the multi-dimensional continuance of the opera because of their distinctive way of teaching and learning. Through the localization of notes and the specialization of orchestra organization, the opera finish self-adjustment to suit local conditions. Adherence is the "internal structure" of the opera during its development, transform and precession. In order to survive, the opera scrupulously abide by the holiness of its sound and function to meet the demands of its people to get spiritual comfort, also abide by the way of performance to meet the aesthetic needs, guaranteed a large number of fans. The adherence of its core concepts made the opera meet both the demands of modern requirements and Tibetan moral values. Both aesthetic orientation and value orientation are fulfilled. In the inheritance of the Opera, change and adherence are not only mutually premise, but also are testified, which should be taken as dialectical unity. Through the above argument, we come to a conclusion that change and adherence are the main inheritance mechanism of the opera.