Study On Costumes And Props Of Ache Lha Mo Tibetan Drama

Hundreds of years have passed since the birth of Tibetan drama on the Snow-Capped Plateau.In recent years,the research about Tibetan drama has become more in-depth and comprehensive,but the special research on the costume and props of a drama has not been involved.The author watched performances of folk Tibetan drama troupes for the past few years,and discovered that the performances mostly relying on festivals and cultural activities such as perform Tibetan drama in the countryside.After receiving the performance arrangement of Tibetan drama,the folk Tibetan drama troupe generally decides the rehearsal time according to the familiarity of the repertory to be performed,organizes the actors to rehearse in advance,prepares the costumes and props of the corresponding repertory,and contacts the relevant personnel in charge of sound on the performance day,etc.The Tibetan Opera troupe arrived at the specific venue on the day of the performance,they spread out a large cloth around the side of the venue and fixed a simple backstage with the help of the surrounding trees and other rope.Then they moved the costumes and props out of the car and stacked them here,where the actors could change their costumes.This piece of cloth not only circles the backstage area,but also acts as the boundary between the stage and the backstage,from which the actors enter and exit.With the rapid development of the era and the popularity of various entertainment activities,people’s leisure time and attention are greatly dispersed.Nowadays,the audience of Tibetan drama is mostly old people and children,and the proportion of young people is gradually decreasing.People gradually realized the importance of Tibetan drama about inheritance and innovation,and began to use new media and other channels to let more people know about Tibetan drama.This paper hopes to focus on the stage itself of Tibetan drama by studying the costumes and props of Tibetan drama,and peek into the historical significance of Tibetan opera through the changes of costumes and props,so that people can enjoy the charm of Tibetan drama from another angle.The thesis consists of the introduction,five chapters and the conclusion.The main contents of each part are as follows:The introduction part mainly introduces that after watching many Tibetan drama performances,author focus on the Tibetan drama stage of the present,chooses costumes and props as the entry point and the reason about selects Padma’od’bar drama.Then briefly introduces domestic and foreign research results of costumes and props,hoping that this paper can see the wonderful "big world" of Tibetan culture from the "small window" of costumes and props.The first chapter is an Overview of Traditional Tibetan drama.After a basic introduction of the origin,genres and repertoire of Tibetan drama,it is also comprehensively expounds the current research on traditional Tibetan drama from the aspects of performing arts and visual arts.Here,the author generally divides the performing arts into music and dance,and the visual arts into costume,masks and props.The second chapter "Analysis of the opening scene’s Costumes and Props" is a discussion of the opening scene.Firstly,the basic composition of the opening scene and the changes of the number of actors were introduced,and the formation of the opening scene was described from the new angle of how the Xuebalamu Tibetan drama Troupe learned to perform the opening scene,then the possible sources and specific costumes of the three types of roles were described in detail.Although the opening play had nothing to do with the content of the regular play,it was an essential part of the Tibetan drama performance,so it was worth discussing specifically here.The third chapter,"Elaboration of the repertoire of Padma’od’bar,expounds the source of the repertoire of Padma’od’bar and its popularity among the folk,and briefly summarizes the main plot of Padma’od’bar based on the Tibetan Volume of Chinese drama Records and the Chinese version of Eight Traditional Tibetan dramas.In addition,it briefly analyzes the formation of some main and secondary roles.The fourth chapter,"Brief Introduction of Costume Masks in Padma’od’bar",briefly introduces the Tibetan drama Troupe of Xuebalamu,and takes the costumes and props used by the troupe in the performance of Padma’od’bar as the main reference.Based on the classification standard of masks in Tibetan drama,the author divides the characters in the play into three categories: characters in the opera,gods and monsters and animal characters,and describes the costumes,masks and props by all kinds of characters worn in detail.The fifth chapter "Artistic representation of costume props in Padma’od’bar" first tells the historical changes of costumes and props,and introduces the production and maintenance of costumes and props by taking Xuebalamu Tibetan drama Troupe as an example.Secondly,it analyzes the strong local characteristics contained in the clothing and the characteristics of multi-ethnic integration,and analyzes the implied power structure of the clothing and the possible influence of the clothing in the political and cultural exchange with the mainland.Thirdly,because the relevant research of Tibetan drama masks is detailed,there only a brief introduction is made to the character,identity,likes and dislikes and other symbols represented by Tibetan drama masks.Finally,it describes the functional transformation and the functions of props in the performance.The conclusion briefly describes the help of costumes and props to actors in shaping roles and the visual impact on the audience,as well as the reasons why the costumes and props focus on the Tibetan drama stage itself,and tells the development status of Tibetan drama and future prospects.