20世纪上半叶藏戏实践中的多民族文化交流现象初探  

A Preliminary Study on the Multi-Ethnic Cultural Exchange Phenomenon in Tibetan Opera Practices in the First Half of the 20th Century

作　　者：桑吉东智[1] Sangye Dondhup

机构地区：[1]西藏自治区民族艺术研究所

出　　处：《西藏艺术研究》2024年第4期79-87,78,共10页Tibetan Art Studies

基　　金：国家社科基金艺术学项目“20世纪中国藏戏传承与发展研究”(项目编号:23EB209)阶段性成果。

摘　　要：20世纪上半叶,在藏戏发展历史上具有非常特殊的意义。首先,职业化剧团觉木隆崛起,无论从剧目创作上还是从表演技艺上都有了前所未有的发展和成熟;其次,藏戏成为雪顿节的主流,产生了巨大的影响力;其三,西藏之外的各个藏族聚居区形成了独具特色的藏戏表演形态;其四,藏戏开始吸收和借鉴周边民族或地区的文化艺术元素,继续丰富和发展了藏戏艺术。彼时,传统藏戏实践过程中出现的多民族参与或多民族文化符号在藏戏表演当中的应用现象。旨在探讨戏剧作为一种文化媒介,所呈现出来的多民族交往、交流、交融的历史以及对铸牢中华民族共同体意识所具有的现实意义。The first half of the 20th century holds a very special significance in the history of Tibetan opera development.Firstly,the professional theater troupe,sKyor mo lung pa,rose to prominence,achieving unprecedented development and maturity in both repertoire creation and performance skills.Secondly,Tibetan opera became the mainstream during the Shoton Festival,exerting an unprecedented influence.Thirdly,various Tibetan communities outside Xizang formed unique styles of Tibetan opera performances.Fourthly,Tibetan opera began to absorb and draw from the performance forms of surrounding ethnic groups and regions,continuing to enrich and develop the art of Tibetan opera.During this period,there emerged a phenomenon of multi-ethnic participation in the traditional practices of Tibetan opera,as well as the application of multi-ethnic cultures in its creation.This article aims to explore the historical interactions,exchanges,and integrations presented by opera as a cultural medium,and the practical significance in consolidating the strong sense of ethnic unity for the Chinese nation.

关 键 词：藏戏 20世纪上半叶 多民族文化交流 

分 类 号：J825[艺术—戏剧戏曲]