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| 編輯推薦： |
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《藏剧故事选》（英文）讲述了8个藏剧故事，这些故事情节曲折离奇，内容生动感人，叙事手法古朴，反映了古代藏族人的社会制度、文化习俗、宗教信仰、道德情感、审美情趣等。该书对对藏族文化感兴趣的中外读者以及国内英语学习者有很大阅读价值。
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| 內容簡介： |
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本书收录了文成公主、诺桑王子、卓瓦桑母、苏吉尼玛、顿月顿珠、赤美滚丹、朗萨姑娘、白马文巴八个藏剧故事。
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| 關於作者： |
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王尧，现为中央民族大学藏学教授，中国佛教文化研究所特约研究员，中国文化书院导师，香港大学客座教授。毕生从事古藏文资料收集和探讨，汉藏文化交流轨迹之寻找。著有《宗喀巴评传》、《西藏文史考信集》、《藏学零墨》等书。其对藏语的历史分期以及方言划分的观点，乃该领域中的一家之言。
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| 目錄：
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Foreword
Tibetan Opera and Tales from Tibetan Opera
Princess Wencheng
Prince Nor-bzang
Maiden Vgro-bzang-mo
Maiden Gzugs-kyi-nyi-ma
Brothers Don-yod and Don-grub
Prince Dri-med-kun-idan
Maiden Snang-sa
Pad-ma-vod-vbar
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| 內容試閱：
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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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