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Print Edition> Lifestyle
UPDATED: July 16, 2012 NO. 29 JULY 19, 2012
Opera From Heaven
Tibetan opera seeks innovative expressions of life
By Bai Shi
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MAKEUP MOMENT: Actresses with the Tibetan Opera Troupe from Lhasa prepare for a rehearsal of the play The Golden Home in Beijing on June 28 (WEI YAO)

For example, a graduate who returns home can take out zero-interest loans from banks to develop a project and can be exempt from tax for three years if he or she starts a business.

According to the Finance Bureau of Tibet, the Central Government and Tibetan local government have jointly invested more than 10 million yuan ($1.57million) to protect and promote Tibetan opera since 2005, laying a solid foundation for the future of Tibetan opera. Guided by the government, more Tibetan youth have chosen to set up businesses in their hometowns, improving the local economy and the lives of local villagers.

In addition, the government has allocated more resources in recent years to promote knowledge and technologies for local people. In Tibet, a total of 106.62 million yuan ($16.87 million) has been invested since the launch of the Rural Library Project in 2007 for the construction of 5,331 rural libraries, covering more than 92 percent of all Tibetan villages. Moreover, 80 percent of the books are written in the Tibetan language. These libraries have proven to be an effective way for farmers and herdsmen to acquire knowledge and learn about new technologies.

Operatic adaptations

As more innovative ideas are accepted by Tibetans, artists of traditional Tibetan opera also seek new ways to develop their traditional theatrical arts.

Tibetan opera has been performed by generations for over 1,000 years on the plateau. Its history dates back further than any other style of Chinese opera, including Peking and Kunqu opera. Most Tibetan opera stories are based on Buddhist classics, historical narratives and ancient myths. Regarded as a living relic of Tibetan culture, Tibetan opera was listed as a Masterpiece of Oral and Intangible Heritage of Humanity by the UNESCO in 2009.

For the play The Golden Home, the troupe tried some storytelling methods that differ from traditional ones. "For example, we added many folk songs and arias to the play with Tibetan musical characteristics, which can be easily understood by young people," said Pasang Tsering, director of the play.

The adaptation also required actors to make changes to their singing and dancing performances.

Palden Wangchug, 40, a star actor of the troupe, excels at playing famous historic characters in traditional opera.

"It is a challenge for me to perform in a contemporary story," said Palden. "I spent months practicing new singing skills and narrative parts for the play."

Palden said he visited universities to research his new role, observing young graduate students to learn how they think and communicate.

"The Golden Home has a strong element of realism, which is far from traditional Tibetan opera," Palden added.

The impetus for innovation is driven by the young artists of the troupe. The troupe was established in Lhasa in 1960, with 132 staff currently in service. Over half of them are under 40 years old.

Sonam Dradul, 28, is the deputy director of The Golden Home. Sonam was first a performer of Tibetan opera, and later went on to study directing at the National Academy of Chinese Theater Arts.

"Real people and their stories are the foundations that inspire us to write new plays," Sonam said. "In addition to writing real-life stories, we absorb elements of contemporary theater arts into our plays. As a result, young people can better understand our performances and might become more interested in traditional Tibetan opera."

Nevertheless, innovation does not always breed success. "Newly produced plays are not as popular in remote rural areas as they are in cities," Sonam said. "Older generations still prefer traditional opera and stories. They never seem to lose interest in those classic plays, no matter how many times they've seen them."

"Our attempts to innovate in Tibetan opera have a long way to go," said Ta Tsering. "But we will adhere to both inheriting traditions and developing new plays, as if they are the two legs of a man." He stressed, "It is a common task for all Tibetan opera artists to pass on this ancient theater art."

Email us at: baishi@bjreview.com

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