1956年,我曾随同陈毅副总理率领的中央代表团前往西藏,参加西藏自治区筹委会成立的庆祝典礼。当时我曾对西藏的戏剧活动做了一些了解。我们先到了拉萨,然后经过雅鲁藏布江到了日喀则,后来又到了边境重镇——亚东。在这期间,我们看了一些藏戏,和西藏的戏剧工作者也进行了接触,感到有着悠久历史的、深受广大藏胞热爱的藏戏,在很多方面和祖国内地的戏曲很相近。藏戏也是—种歌、舞结合的戏剧形式。在剧本结构方面,藏戏开始时,先由戴蓝面具的“温巴”和戴高帽子的“加鲁”出场演唱,说明戏的主旨作为开端,然后再分场逐渐展开情节,这和我国古典戏曲中的“副末开场”很相似。藏戏过去的剧本很长,很多戏都要连演上几天,这也正像是保留了祖国古典戏曲剧本的多折数本、连演数天的特点。藏戏在音乐上主要是用鼓、钹等打击乐器伴奏,除了剧中人物演唱 In 1956, the Central Delegation led by Vice Premier Chen Yi traveled to Tibet to attend the celebration ceremony for the establishment of the Preparatory Committee of the Tibet Autonomous Region. At that time, I had some understanding of the drama in Tibet. We first arrived in Lhasa, and then passed the Brahmaputra to Shigatse and later to the border town of Yadong. During this period, we have also seen some Tibetan operas and also contacted the dramatists in Tibet. We feel that the Tibetan opera, which has a long history and is deeply loved by the majority of Tibetans, is similar in many ways to that of the drama in the Mainland. Tibetan opera is also - kind of song, dance combined with the form of drama. In terms of the script structure, the beginning of the Tibetan opera begins with the singing of “Weiba” in the mask of Dai Lan and the “Garou” wearing a high hat to illustrate the theme of the play as a beginning, and then gradually expand the subdivision of the plot. This is in line with our classical Chinese operas In the “deputy opening” is very similar. In the past, the scripts of the Tibetan opera were very long. Many of the plays were going to be staged for a few days. This is just like the multi-fold number that kept the classic drama script of the motherland for several days. Tibetan opera in the music is mainly used drums, cymbals and other percussion accompaniment, in addition to the characters singing