摘要
藏戏作为我国独具魅力的少数民族戏剧之一,有着独特的发展脉络、鲜明的民族特点和别具一格的艺术表演形式,深受人民喜爱。藏语仍沿用本土称谓"阿吉拉姆"、"拉姆",汉语学术界将涉藏地区的这一戏剧表演形式称谓固定为藏戏(藏族戏曲)、藏剧(藏族戏剧)。国内学界对藏戏的研究讨论在20世纪80年代后取得阶段性成果,主要论题在藏戏起源、剧目剧种问题等,随着更多学者对这一表演形式的关注,对于藏戏的研究也呈现由表入里、由浅入深、由此及彼的特点。文章从藏戏独具特色的表演程式入手,总结国内研究中对藏戏表演艺术这一领域的研究情况和学术观点。
Tibetan opera is as a kind of minority drama with unique charm in China,which is deeply loved by the people with its unique development,distinctive national characteristics and unique artistic performance form.Tibetan scholars still use the local titles"Ache Lhamo"and"Lhamo",and the Chinese academic circles have fixed this form of drama performance in Tibetan areas as Tibetan opera and Tibetan opera(Tibetan drama).Studies and discussions on Tibetan opera in domestic academic circles have made initial achievements since the 1980s,with the main topics being the origin of Tibetan opera and the types of plays.It is more scholars pay attention to this form of performance,the research on Tibetan opera that is characterized by entering from the surface to the inside,from the superficial to the deep,and from one to the other.Starting with the unique performance formula of Tibetan opera,this paper summarizes the research situation and academic viewpoints in the field of Tibetan opera performing art in China.
出处
《西藏艺术研究》
2021年第4期80-87,共8页
Tibetan Art Studies
关键词
藏戏
舞蹈表演
Tibetan opera
Dance performance
作者简介
杨璇,西藏大学艺术学院2020级中国少数民族艺术(戏剧)专业硕士研究生
