White-mask Tibetan opera

· Formation

White-mask opera was called “Lhamo”or “Bakongpo”in Tibetan language, meaning fairy sister, fairy or white-mask opera. It started to take shape in the 8th century. On a fresco of Samye Monastery, there are scenes of the opening ceremony of white-mask Tibetan operas “Aruowa”and “Jialu”and “Lhamo.”

In the 15th century, Thangtong Gyalpo enriched and developed the opera performance of “Aji-Lhamo,”and with the proceeds of long-termfundraising, he created and rehearsed it during while overseeing theconstruction of dozens of iron-chain bridges. The performers of “Aji-Lhamo”wore white goat-skin masks and told the stories by reciting, singing, dancing and acrobatics. In the 17th century, white-mask Tibetan opera was supported by the 5th Dalai Lama and further refined after integrating singing with live performance, folk singing and dancing and acrobatics, forming the core performance and complemented by singing, reciting, dancing, expressions, soliloquy and advanced techniques. Later three artistic sects developed, namely “Tashi Sherpa,””Bindunba”and”Nyemo Ba.”

· Artistic characteristics of white-mask Tibetan opera As the most ancient opera, white-mask Tibetan mask is still performed in Tibet and has retained its primitive, simple and unpolished artisticcharacteristics. Its stage technique is simple and robust, combined with the ancient “Le-gzhas(labor singing and dancing),”celebration song “Gzhas-chen”and “Sgor-gzhas”performance, featuring long music and short lyrics with simple sentences, accompanied by drums and cymbals, catchy rhythm, changing movements and imitation of animals’ roar in between the songs and recitals. It performs only the serious drama Prince Norsang, and seldom plays the whole program but only half. In addition to the official performance at Shoton, it only plays “Gzhaspo,”that was the opening ritual performance of “Anuowa.”

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