4.藏戏（1540）

4藏戏

1.世界上还有几个剧种是戴着面具演出的呢？

2.世界上还有几个剧种在演出时是没有舞台的呢？

3.世界上还有几个剧种一部戏可以演出三五天还没有结束的呢？

4.还是从西藏僧人唐东杰布的传奇故事讲起吧。

5.那时候，雅鲁藏布江上没有一座桥，数不清的牛皮船被掀翻在野马脱缰般的激流中，许多涉水过江的百姓被咆哮的江水吞噬。

6.于是，年轻的僧人唐东杰布许下宏愿，发誓架桥，为民造福。

7.一无所有的唐东杰布，招来的只有一阵哄堂大笑。

8.于是就有了这样一段传奇，唐东杰布在山南琼结，认识了能歌善舞的七兄妹，组成了西藏的第一个藏戏班子，用歌舞说唱的形式，表演历史故事和传说，劝人行善积德，出钱出力，共同修桥。

9.随着雄浑的歌声响彻雪山旷野，有人献出钱财，有人布施铁块，有送来粮食，更有大批的渔民、工匠、流浪汉跟着他们，从一个架工地走到另一个架桥工地。随着铁索桥一座接着一座地架起来，戏的种子也随之撒遍了雪域高原。

10.身无分文的唐东杰布就这样在雅鲁藏布江上留下了58座铁索桥，同时，成为藏戏的开山鼻祖。

11.传说，唐东杰布在母亲的肚子里待了80年，出生时头发胡子都白了。

12.因此，在藏戏里，他的面具是白色的，前额饰有日月，两颊贴着短发，眉眼嘴角永远带着神秘的笑。

13.在藏戏里，身份相同的人物所戴的面具，其颜色和形状基本相同。

14.国王的面具是红色的，红色代表威严。

15.王妃的面具是绿色的，绿色代表柔顺。

16.巫女的面具半黑半白，代表其两面三刀。

17.妖魔的面具青面獠牙，以示压抑和恐怖。

18.村民的面具则用白布或黄布缝制，眼睛和嘴唇处挖出窟窿，以示朴实敦厚。

19.雪山江河作背景，草原大地作背景。表演藏戏的艺人们席地而唱，不要幕布，不要灯光，不要道具，只要一鼓、一钹为其伴奏。

20.他们别无所求，只要有观众就行。

21.观众团团围坐，所有的剧情全靠艺人们用说唱来描述。22.艺人们唱着，说着，跳着，在面具下演绎着各种故事。23.面具运用象征、夸张的手法，使戏剧中的人物形象突出、性格鲜明，这是藏戏面具在长期发展的过程中得以保留的原因之一。

24.西藏地广人稀，生活节奏比较缓慢。

25.表现在藏戏中，情节可以任意拖延，艺人们的唱腔、舞蹈动作可以随意发挥，一段戏可以一而再再而三地重复，观众也在吃喝玩耍中看戏，双方随心所欲、优战游哉出戏演他个三五天毫不稀奇。

26.藏戏就是这样，一代一代地师传身授下去。

Tibetan Opera

1. How many theater forms in the world use masks during performances?

2. How many theater forms in the world perform without a stage?

3. How many theater forms in the world can have a single play that lasts for three to five days without ending?

4. Let's start with the legendary story of the Tibetan monk Thangtong Gyalpo.

5. At that time, there were no bridges over the Yarlung Tsangpo River, countless leather boats were capsized in the wild rapids, and many people trying to cross the river were swallowed by the roaring waters.

6. So, the young monk Thangtong Gyalpo made a great vow, swearing to build bridges and benefit the people.

7. Thangtong Gyalpo, who had nothing, was met with a burst of laughter.

8. Thus began a legend: in Chongye, southern Tibet, Thangtong Gyalpo met seven talented singing and dancing siblings. They formed Tibet's first Tibetan opera troupe, performing historical stories and legends in song and dance to encourage people to be kind and help build bridges.

9. As their powerful singing echoed across the snowy mountains and plains, people donated money, iron, food, and many fishermen, craftsmen, and wanderers joined them, moving from one bridge construction site to another. As iron chain bridges were built one after another, the seeds of Tibetan opera spread across the snowy plateau.

10. Penniless, Thangtong Gyalpo left behind 58 iron chain bridges over the Yarlung Tsangpo River and became the founding father of Tibetan opera.

11. It is said that Thangtong Gyalpo stayed in his mother's womb for 80 years, and when he was born, his hair and beard were already white.

12. Therefore, in Tibetan opera, his mask is white, decorated with the sun and moon on the forehead, with short hair on the cheeks, and a mysterious smile always on his eyebrows, eyes, and mouth.

13. In Tibetan opera, characters of the same identity wear masks that are basically the same in color and shape.

14. The king's mask is red, representing authority.

15. The queen's mask is green, representing gentleness.

16. The sorceress's mask is half black and half white, representing her double-dealing nature.

17. The demon's mask is blue with fangs, representing suppression and terror.

18. The villagers' masks are made of white or yellow cloth, with holes cut out for the eyes and mouth, representing simplicity and honesty.

19. Snowy mountains and rivers serve as the background, and the vast grasslands as the stage. Tibetan opera performers sing while sitting on the ground, without needing curtains, lights, or props, just accompanied by a drum and cymbals.

20. They ask for nothing more than an audience.

21. The audience sits in a circle, and all the plots are described through the performers' singing and speaking.

22. The performers sing, speak, and dance, telling various stories under their masks.

23. The masks use symbolic and exaggerated techniques, making the characters' images stand out with distinct personalities. This is one reason why Tibetan opera masks have been preserved through long-term development.

24. Tibet has vast lands and few people, with a relatively slow pace of life.

25. This is reflected in Tibetan opera, where the plot can be extended at will, the performers' singing and dance movements can be freely expressed, a scene can be repeated over and over again, and the audience watches while eating, drinking, and playing. Both sides enjoy themselves, and it's not unusual for a play to last three to five days.

26. This is how Tibetan opera has been passed down from generation to generation.