论西藏藏戏新编剧目的变化及意义  

On the Changes and Significance of New Plays in Tibetan Opera

作　　者：李宜[1] 

机构地区：[1]西藏民族大学文学院,陕西咸阳712082

出　　处：《西藏研究》2016年第1期68-74,共7页Tibetan Studies

基　　金：2011年度国家社会科学基金重点项目"西藏藏戏形态研究"(项目批准号:11AZW007)阶段性成果

摘　　要：民主改革开始后,西藏社会发生了翻天覆地的变化。藏戏编剧人员根据社会巨变编创出许多反映西藏人民现实生活的新剧目。这些新编剧目与传统剧目相比而言,实现了内容从出世向入世转变,主要角色从神佛向凡人改变,艺术形态将继承与创新融合,编创群体从僧侣文人向专业编剧转变的巨大突破。新编剧目记录了西藏社会发展轨迹,丰富了藏戏表演艺术,使古老的藏戏焕发出新的青春活力。Tibetan society has undergone great changes ever since the democratic reform. The scriptwriters of Tibetan opera have created many new plays which reflect the real lives of Tibetan people based on the social changes. Compared with traditional plays,the new ones have achieved several breakthroughs in transformation： the content has transformed from a monastic life to secular live; the main character has transformed from God and Buddha to ordinary person; the art form has combined inheritance and innovation; and the editing and writing group has transformed from monks and scholars to professional editors.The new plays have recorded the development path of Tibetan society,enriched the performing arts of Tibetan opera,and brought new vitality to this ancient art.

关 键 词：西藏藏戏 新编剧目 变化 意义 

分 类 号：J825[艺术—戏剧戏曲]