This is an old work of mine completed more than 20 years ago.
It was sold out soon after it was published by the New World Press
and, for the time being, can hardly be found on the market. Now,
having won the approval from the competent publishing authorities,
I have made the decision to have it reprinted, and I would like to
take this opportunity to speak my mind:
1. This book, having suffered from numerous criticisms during the
Cultural Revolution, almost went into extinction. Indubitably, I
myself went through harsh criticism and accusation, most of which
were, as it turned out, utterly false. Luckily, all this is gone.
Now that everything has developed along the right lines, we might
just as well let that pass.
2. Currently, Tibetan opera has become a striking symbol of the
cultural development on the Chinese mainland and a dazzlingly
beautiful flower in the blossoming garden of Chinese opera, which
is, in essence, the fruit of the unremitting efforts of Tibetan
writers and actors. Apart from the innovations in form, aria,
masks, costume, music, etc, the plots of Tibetan opera themselves
are marvelous spectacles with salient national traits which have
won great popularity among the Chinese people. In view of this, I,
as a promoter and translator of Tibetan opera, feel fairly
gratified. Never shall we forget that since the 13th century,
writers of successive dynasties have spared no efforts in adapting
stories of the Buddhist scriptures to Tibetan opera. Thanks to
their originality and superb artistic taste, unique aria and dance
have been formed to express the fairly complex emotions of the
characters of the opera which strike a sentimental chord in the
audience, hence a complete pattern of Tibetan opera taking
shape.
Undergoing vigorous development and promotion, Tibetan Opera, one
of the important inheritors of Tibetan culture, has played a
crucial role in carrying forward our national culture. Thanks to
the performances of Tibetan Opera touring the rural and urban areas
of Tibet and its continuous development, it has become more and
more popular throughout China. What is to be introduced here is
just the stories about the eight major Tibetan operas, and new
repertoires remain to be collected and brought forth.
Also, the forms of Tibetan opera have witnessed tremendous changes.
To be more exact, performances are staged in theatres rather than
on squares; previously, the audience was just composed of farmers
and herdsmen. Now, almost all rural and urban residents have become
Tibetan opera fans. Moreover, music and costumes in the opera have
been greatly improved. Getting close to the actual conditions,
daily life and the common people has become the new developmental
orientation of Tibetan opera. To develop a strong socialist culture
in China, it is critical to inspire the cultural creativity of the
whole nation. On the part of myself, I think Tibetan opera has a
promising future. In this sense, the reprinting of this Tibetan
Opera Tales serves to be a small gift of mine.
Recently, Mr. Chi Ren Langjie, a teacher from the University of
Tibet, paid a visit to me. He has been working for his doctorate in
the Tibetan opera program in the Central Conservatory of Music,
which further shows that Tibetan opera has won its due attention in
the research field.
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