藏族“十明学”对藏戏艺术形成、发展及藏戏理论产生的影响  

The Influence of Tibetan Ten Subjects on the Formation and Development of Tibetan Opera and its Theory

作　　者：强巴曲杰[1] Chamba Chugye(School of Art,Tibet University,Lhasa,Tibet 850000)

机构地区：[1]西藏大学艺术学院,西藏拉萨850000

出　　处：《西藏大学学报（社会科学版）》2020年第4期88-95,共8页Journal of Tibet University

基　　金：2019年度国家社会科学基金重大项目“环喜马拉雅艺术图谱绘制”阶段性成果,项目号:19ZDA045。

摘　　要：文章主要探讨藏族“十明学”对藏戏形成、发展的影响,以及藏族戏剧理论的产生。从历史文献和实地调研所得民族学材料看,藏族戏剧有着悠久的历史传承,最初从苯(苯教)、仲(故事)、第乌(谜语)中派生出了依据故事形成的小型故事剧,后来形成了用歌唱故事、以舞蹈演绎故事、用面具工艺塑造人物形象的符合民族审美观念的民族戏剧。与此同时,随着藏族“十明学”的进一步发展完善,出现了民族戏剧理论,逐步形成了不同剧种的表演形态、戏剧结构,满足了人们的审美需求,促进了藏族戏剧的全方位发展,深受广大藏族群众喜爱,成为了中华戏剧百花园中的一朵鲜艳的雪莲花。This article mainly discusses the influence of the Tibetan Ten Subjects,Five Major ones(Rig-gnasche-ba-lnga)and Five Minor ones(Rig-gnas-chung-ba-lnga),on the formation and development of Tibetan op⁃era,as well as the generation of Tibetan opera theory.In reference with the historical documents and field re⁃search results,it is found that Tibetan opera has a long history,and the small stories of the early Tibetan operas were based on the stories from Bon Religion(the original religion of Tibet),Drum(stories),Diwu(riddles),and they were acted out by singing and dancing with actors and actresses wearing masks to shaping characters,which is consistent with the national aesthetic concept of the national operas.With the further development and perfec⁃tion of the Tibetan Ten Subjects,the theory of Tibetan opera has emerged,and the performing forms and opera's structures have gradually become diverse,which meets people's aesthetic needs.Tibetan opera has achieved the all-round development and become very popular in Tibet,and has developed into an important part of Chinese opera.

关 键 词：十明学 藏戏五支 戏剧理论 

分 类 号：J825[艺术—戏剧戏曲]