A Comparative Study Of Tibetan-Chinese Drama Conflict

Drama conflict is the fundamental driving force for the development of drama plot,and it is also one of the essential characteristics of drama art.Whether at the aesthetic level or the realistic level,dramatic conflicts are centralized,typical,and complex.This article takes drama conflicts as the starting point and compares the similarities and differences between Tibetan dramas and Yuan operas,and explores the differences and similarities between the Tibetan and Han in terms of traditional culture and ethnic character.Mutual knowledge and mutual learning between Zaju,Tibetan culture and Han culture.The article is divided into five parts:introduction,general overview of the development of Tibetan and Yuan opera,analysis of the types of conflicts between Tibetan and Chinese dramas,analysis of the ways of resolving conflicts between Tibetan and Chinese dramas,and inspiration.The introduction section summarizes the reasons for choosing the topic,the current research status,and related theories of drama conflict.The first chapter sorts out the origin,development process,and research selection of Tibetan opera and Yuan opera.Among them,Tibetan opera originated in the Tang Dynasty and developed and matured in the fourteenth and fifteenth centuries.Yuan opera has accumulated drama factors in the pre-Qin period.The period formed a prototype,matured and reached its peak in the Yuan Dynasty.The second chapter is based on a full reading of the eight major Tibetan plays and the twenty-four repertoires of the Yuanren Zaju Selection.The article divides Tibetan-Chinese drama conflicts into positive and evil,emotion and reason,religious and secular,and other conflicts.Four categories,and extract representative dramas for specific analysis.Based on Chapter 2,the third chapter analyzes the similarities and differences between Tibetan and Chinese dramas in the way of resolving conflicts,and analyzes the social,historical,natural environment,and literary traditions after the similarities and differences.Influence and shaping of ethnic culture and ethnic aesthetic psychology.The fourth chapter discusses the necessity and direction of strengthening Tibetan-Chinese cultural exchanges from three aspects:respect for differences,confirmation of self-identity,integration and complementarity for long-term development,flow freely and tell a good Chinese story.