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THE MASKED SINGERS

Once dwindling, the ancient art of Tibetan Opera is now reaching new stages of development thanks to greater government and audience support

By Wang Yan Updated Sept.1

Tenzin Yeshe believes he was a Tibetan Opera performer in a previous life. 　

Growing up in the 1990s, his grandparents often took him to the Norbulingka, the former summer palace of the Dalai Lama in Lhasa, to watch opera. Performances lasted all day.　

“When other kids were playing, for no reason at all I’d pick up a small twig and start dancing to the rhythm of the Tibetan Opera drums nearby,” Tenzin, now 32 and a doctoral student in drama and traditional opera studies at the Chinese National Academy of Arts in Beijing, told NewsChina.　

To him, Tibetan Opera evokes a deep-rooted joy: “It’s not just the arias, the body movements or the music. It’s the overall joyfulness it brings me. It’s a very strange sensation.”　

Tibetan Opera performers were mainly farmers who performed in their spare time after the harvest. Performers often wear masks, and the operas are divided into schools based on the mask color: blue, white, yellow and black. Each color symbolizes different roles, and are popular in different regions.　

The blue-mask school is the most popular style. Originating in what is today’s western Xizang Autonomous Region, blue masks often represent heroic figures in epic tales.　

The Shol Tibetan Opera Troupe, a blue-mask troupe founded in 1946, is among the most influential. Tenzin Yeshe joined in 2016 and began formal training under Penpa Tsering, its deputy director. Over the past decade, he has mastered roles from all eight works of the classical repertoire, including human and animal characters. “I’m even skilled at performing female roles,” he said.　

From its founding to the 1960s, the troupe maintained a core cast of 16. Disbanded in the 1970s, it was later restructured in 1984 into the Shol Tibetan Opera Cooperative, becoming a professional troupe.　

Today, it has 56 professional performers ranging in age from 18 to 71, with 32 men and 24 women. In 2004, the Shol Tibetan Opera Performing Arts Company, incorporated on the basis of the Shol Tibetan Opera Troupe, became the first Tibetan Opera troupe in Xizang to market itself as a company.　

These changes embody a larger revival in Tibetan Opera, fueled by government support, public patronage and international attention.

A crowd watches a Tibetan Opera performance in Lhasa, circa 1910. A traditional folk art, Tibetan Opera performances are held during the Shoton Festival, Tibetan New Year and during speciffc religious festivals (Photo by VCG)

A crowd watches a Tibetan Opera performance outside Drepung Monastery during the Shoton Festival, Lhasa, August 14, 2015 (Photo by VCG)

Rallying the Troupes 
Tibetan Opera was listed as China’s national intangible cultural heritage in 2006 and included on UNESCO’s list of Oral and Intangible Heritage of Humanity in 2009.��

The blue-mask school, known in Tibetan as Ache Lhamo (“fairy sisters”), is a form of secular theater dating back more than 600 years. Its origins can be traced back more than 1,000 years to folk beliefs and ritual activities, possibly as early as the region’s pre-Buddhist era around the 8th century. It incorporates elements of history, folklore, legend and Buddhist teachings.　

“Tibetan Opera plays a significant role in the lives of rural communities,” said Sangye Dondrup, a researcher and art commentator from the National Art Institute of Xizang in Lhasa.　

Around 1430, the monk and engineer Thangtong Gyalpo built iron suspension bridges across major rivers on the plateau, including the Yarlung Zangbo River (the highest altitude river in the world), to improve transportation.　

To raise funds, he recruited seven young women from among his builders to perform traditional Tibetan songs and dances. “That’s how the school got the name Ache Lhamo, or ‘fairy sisters,’” Sangye Dondrup told NewsChina.　

During the rule of the Fifth Dalai Lama (1618-1682), Tibetan Opera became increasingly secular and eventually emerged as an independent dramatic form. “By the 18th century, Buddhist stories translated into Tibetan began to merge with local folk tales, giving rise to full repertoires,” he said.　

A typical Tibetan Opera performance consists of three parts: a prologue featuring clowns or spirits to bless the performance, the main narrative and an epilogue offering prayers and blessings. The prologue features a ceremonial dance and chant by seven blue-masked hunters, two berobed gyalu (prefects) and seven dakinis (celestial fairies). These rituals, according to Sangye Dondrup, purify the performance space and invite celestial beings. Before the main story begins, performers salute their patron saint, the engineer-monk Thangtong Gyalpo.　

The eight traditional repertoires are based on biographies of heroes and heroines drawn from magic tales, ancient legends, historical records and Buddhist teachings. These stories focus on loyalty, karma, enlightenment and moral values, often telling of young heroes who overcome hardships to become kings or attain spiritual achievements.　

Performers are judged on their rhythmic movements and the quality of their arias, which vary by gender, emotion, plot and character. Comedic interludes and improvisations add to the atmosphere. “It’s an art form rich in artistic elements,” Tenzin Yeshe said. “There are over 20 types of arias and more than 200 distinct body movements. I’m trying to decode the meaning behind each of them, their expressive functions and aesthetic principles.”　

Traditionally, Tibetan Opera is performed in open circular spaces that accommodate hundreds or even thousands of spectators. They attract entire communities, who stay for seven or eight hours, enjoying meals and picnics as part of the event. Although nearly everyone in the audience knows the stories and songs, it remains a joyful experience, particularly for older viewers.　

“Tibetan Opera has always been for the people, especially farmers, as a way to spread Buddhist teachings in an accessible form,” Sangye Dondrup said. “Now, its inheritance is taking two directions. One is traditional open-air performances by part-time troupes across Tibetan areas. The other is professional stage productions in modern theaters organized by institutions such as the Tibetan Opera Troupe run by the local government.”　

To meet the demands of modern audiences, Tibetan Opera is most often performed in theaters with improved acoustics. Shows typically last about two hours and are put on in both city centers and rural communities.

Performers present a stage adaptation of Tibetan Opera Prince Drimed Kundan, December 30, 2024 (Photo courtesy of the Tibetan Opera Troupe)

Touring Casts 
According to official statistics, the Xizang government has provided aid to 154 Tibetan Opera performance troupes across the region since 2005 as part of an intangible cultural heritage protection initiative. The Tibetan Opera Troupe is the only regional-level professional troupe in Xizang. Most other troupes are amateur, made up of part-time performers. Developed from the once-popular Jormolung Opera Troupe in Lhasa, the regional troupe was reorganized into a State-owned enterprise following the establishment of the Xizang Autonomous Region in 1965.　

According to Palden Wangqug, head of the troupe, its membership has grown from around 40 in the 1960s to more than 120 today. As an official professional troupe, it includes not only performers but also staff dedicated to directing, stage design, operations and research. Palden said that in the 60 years since the founding of Xizang Autonomous Region, the favorable environment for Tibetan Opera has led to unprecedented achievements.　

“When I joined the troupe in the mid2000s, there were only a few people attending our theater performances. Open-air shows were more popular, but the audiences were mostly elderly,” said Sonam Chodron, a performer and director at the Tibetan Opera Troupe.　

“Now, the situation has completely changed. Tibetan Opera is not only favored by the elderly but is also attracting younger audiences, including primary school students. Many are learning to perform in their spare time,” she said.　

Tenzin Mengnam, a 16-year-old high school student in Lhasa, began learning Tibetan Opera at 6. Every weekend, Tenzin Mengnam attends free opera classes at the People’s Art Hall in Lhasa, an initiative started by retired artist Drongphurjung in 2015. “I was drawn to the actors’ jumps, spins, masks and arias. The fast-paced, syncopated chants were completely new to me,” he said. In 2015, only five or six children studied under Drongphurjung. Today, more than 100 participate.　

In 2023, Tenzin Mengnam played the lead in the classic Donyo Dondrup, an opera about two half-brother princes who are reunited after multiple life-or-death challenges. All 33 actors in the production were between the ages of 10 and 16. Tenzin Mengnam has now performed 17 times at indoor venues and public squares in cities such as Lhasa, Xigaze and Lhoka.　

Through Xizang government subsidies, small village troupes can receive 50,000 yuan (US$7,000) annually. Larger county troupes, like the Shol Tibetan Opera Troupe and the Niangre Folk Art Troupe in Lhasa’s Chengguan District, receive even more through performance grants.
　
Tenzin Phuntsok, manager of the Niangre Folk Art Troupe, told NewsChina that the troupe has grown from 30 members in 1979 to 53 today. Xizang has introduced a performance-based funding model that ties subsidies to the number of public shows. “If we do 60 free performances a year, we can receive 1.5 million yuan (US$209,000) in subsidies,” he said. The troupe also performs ticketed shows in Xizang and other regions of China, such as Beijing, Shanghai and Jiangsu Province.　

Both Tenzin Yeshe and Tenzin Phuntsok noted that a combination of subsidies and commercial revenue provides a stable livelihood for their performers.　

In recent years, Tibetan Opera has become a highlight at festivals such as Tibetan New Year, the seven-day Shoton Festival (also known as the Yogurt Festival), the harvest festival of Ongkor, horse races and religious events. Since 2018, the Lhasa Municipal Bureau of Culture has hosted the Tibetan Opera Season each summer from May to July. Fully funded by the government, the event brings together troupes from across the region to perform in locations such as Dzongyab Lukhang Park near the Potala Palace and the Norbulingka, drawing thousands of spectators.

New Collabs 
Tibetan Opera inheritors have made various efforts to modernize the form to appeal to larger audiences and adapt the ancient folk art for younger generations. Since 2013, the regional Tibetan Opera Troupe has been engaged in modernizing, digitizing and documenting the eight classical Tibetan Operas. Adaptations include shifting performances to indoor theaters equipped with 3D projections, LED screens and virtual reality environments.　

According to Palden Wangqug, these adaptations preserve the original story-lines and themes while enhancing accessibility for contemporary audiences.　

Since 2017, the troupe has expanded its repertoire to include original operas on modern themes, such as environmental conservation, rural revitalization and cultural preservation. One opera portrays a Tibetan village’s decades-long battle against desertification, while another tells the story of a college graduate returning to his hometown to promote local development.　

In late 2024, a new adaptation of Prince Drimed Kundan, one of the eight classical operas, was staged at the Tibetan Opera Art Center Theater in Lhasa. The story follows a virtuous prince who overcomes adversity and reaches enlightenment, embodying themes of compassion and courage. Performed by members of both the regional and Shol Tibetan Opera troupes, the show marked a historic collaboration between an official and a folk troupe. For three consecutive days, the theater’s 1,000 seats were fully occupied.　

The production was directed by Sonam Chodron, a graduate of the Central Academy of Drama in Beijing. She noted that the two-month rehearsal fostered a highly inclusive environment where both troupes learned from one another. “Folk troupes like Shol have an earthy, authentic performance style that is deeply rooted in the public,” Sonam said. “This is something our troupe operated by the local government can learn from.”　

Art commentator Sangye Dondrup agreed, calling the collaboration a positive beginning. He observed that performers from the Shol troupe demonstrated natural ease and fluidity in their performances.　

To help enhance the production, Sonam introduced techniques such as the Stanislavski acting system, which focuses on emotional realism, and the Suzuki vocal training method for actors. The resulting performance was widely praised by audiences and experts alike. “It was a real surprise for everyone,” she said.　

“Traditionally, we relied entirely on oral transmission from master to student. That remains the case for most folk troupes today. But in the modern era, theoretical knowledge and practical stagecraft are essential to meet evolving audience expectations,” Sonam said. “Folk and official troupes complement each other. One is not more important than the other.”

Tibetan Opera Prince Drimed Kundan is performed in Lhasa’s Dzongyab Lukhang Park during the annual Tibetan Opera Season, June 13, 2025 (Photo by CNS)

‘Ancient Avant-garde’ 
“Tibetan Opera is a relaxed art form. Its open-air setting reflects its deep ties to the land,” Tenzin Yeshe said. While watching the show, audiences interact with clowns and sometimes even participate in the performance.　

In contrast, indoor performances inevitably lack these spontaneous interactions. Professionals recognize the challenge of balancing modern appeal with traditional authenticity.　

“Especially when tackling realistic or cross-cultural themes, traditional forms face certain limitations. That’s the reality. The question is how to inject new vitality without losing our roots,” Sonam said. “Art must evolve. Without innovation, it risks extinction. What we now call ‘traditional’ Tibetan Opera is the result of generations of creative adaptation.” She added that she is currently working on a Tibetan Opera adaptation of Shakespeare.　

“No matter what kind of new creation I pursue, I always adhere to one principle: the essence of Tibetan Opera must remain intact,” she said. This includes its three-part structure of prelude, main narrative and epilogue, as well as its vocal styles, recitations, body movements and percussion rhythms. “These are the foundation of the art. They must be preserved in any innovation.”　

Tenzin Yeshe shares this view. In 2022, he appeared on Guangdong TV reality show Guoyue Dadian for classic Chinese folk music, performing a scene that went viral online. Wearing a yellow Tibetan Opera mask of an old person, symbolizing the earth, he recited in Tibetan: “Oh eagle of the high mountains... elk of the grassy slopes... fish of the lake, I never thought I would meet you.”　

The piece’s themes of environmental protection and humanity’s connection to nature resonated with the show’s panel, especially ethnic Mongolian singer Daichin Tana from the band HAYA, who said: “The most ancient art is often the most avant-garde.”　

“Innovation and tradition are not contradictory, but mutually enriching,” Sonam said. “If we fail to maintain this balance, the art form’s future will be uncertain.”

Primary school Tibetan Opera performers talk during a performance in Chengguan District, Lhasa, December 6, 2019 (Photo by VCG)

Overseas tourists watch a Tibetan Opera performance in Lhasa, August 12, 2018 (Photo by CNS)

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