The Spread Of "Tibetan Opera Of Xiao Wuming" Culture In The Perspective Of "Common Culture"

As a shining pearl of Chinese culture,Tibetan culture has attracted the attention of the world.However,the public’s understanding of Tibetan culture is not deep,and there is a widespread misconception that the Potala Palace is Tibetan culture.In fact,Tibetan culture is widely distributed and nurtures rich cultural forms,among which the "Ten Ming Culture" has typical representativeness because it contains all the spiritual and material cultures of the Tibetan ethnic group.This study focuses on the "Ten Ming Culture" and is expected to break the stereotype that the "Potala Palace is Tibetan culture".The article is based on Raymond Williams’ theory of common culture and Bill Nichols’ documentary theory,and takes the cultural presentation of four Tibetan documentaries as the research object.Through text analysis,case analysis,semi-structured interviews,and other research methods,it analyzes how Tibetan opera culture is written and disseminated by people of different generations.It also summarizes and grasps some director interviews,director notes,and other materials,as well as the author’s internship experience,Exploring the background and ways in which documentary creators present Tibetan opera culture.By answering these questions,we can perspective the diverse creative ecology of Tibetan documentaries,present a relatively complete dissemination and evolution of Tibetan opera culture in the Xiao Wuming era,and provide a new perspective for the inheritance and dissemination of culture in documentary media.Research has found that Tibetan opera culture,originating from folk epic rap culture,has gone through a long history of civilian culture,ideal culture,literature culture,and social culture.It has been influenced by different eras and social classes,and the public promotes the development of common culture through constantly changing practical activities.The imprint of the times is profound and obvious."Zhongba Angren" presents an anthropological perspective on epic rap from an academic perspective,which directly influences the formation of Tibetan opera through oral transmission and free and open performance forms.The production mode of academic institutions has aroused public interest in different cultures;"Dancing with the Wind " reappears the two-way flow of Tibetan opera between the people and the upper class under the Caesaropapism system with the film narrative technique,and provides the audience with a new perspective to observe Tibetan opera through the scene representation technique;"Mysterious Tibetan Opera " uses news language to present how Tibetan opera,under the high attention of the country,can innovate and enter the world with a more open attitude.The production model of " aid to Tibet& local " makes it possible to convey the true and objective state of contemporary Tibetan opera culture;The film "Chasing the Dragon’s Zhaxi Dunzhu" showcases the vitality of Tibetan opera in a social media environment through poetic narrative language.The film is produced independently throughout the entire chain,successfully linking modern life and traditional culture through online audio-visual and social media platforms.From this,it can be seen that the documentary media provides a new development path for the protection and dissemination of culture,both in terms of the depth of the theme and the temperature of emotions.