The origin of the Tibetan opera can be traced back to the period when the Tibetan ethnic group was formed. The first source was the folk singing and dancing of the Tibetan people. For example, the ancient Reba had singing parts,”Ke-gzhas”(reciting of rhyming words), songs of praise, and miscellaneous melodies and playlets, in addition to dancing.
The second source was the art of talking and singing, which has been very popular since ancient times. As early as in the Bon religious period, there were talking and singing performances of oral myths and historical stories called”Zhong,”Dunhuang documents include many legends and stories of the Tubo period, and most of them were in the talking and singing style combined with soliloquy and dialogue. When Biography of King Gesar was formed from the 1lth century to the 13th century, thetalking and singing style developed under the influence of Buddhist literature. In addition to the soliloquy and dialogue verse suitable forsinging, some story narrations were also changed to singable verse. Tibethas also”Zhonglu”for talking and singing stories,”Zhega”for talking and singing wishes,”Lama Mani”and other talking and singing performances.
The third source of Tibetan opera is a rich variety of religious rituals and arts that have a very long history. In the Tiaoshen “Shimo Qinbo”in Lhakhang Township, Garbo Township and Tashilhunpo Monastery in Lhozhag County, there were Bawu and Bamo performers who were heavenly warriors wearing masks with long eyebrows and earrings, but performed playlets about worldly people’s life and made comic gestures and remarks.
