Chapter Ⅰ Introduction3
Chapter Ⅱ The Prototype of the drama7
2.1.The story of Princess Wencheng 7
2.2.Reforms following the marriage 9
2.3.Interracial marriage: a historical debate 15
2.4 Case Study of the Lives of Chinese princesses 23
Chapter Ⅲ Theatrical Performance 36
3.1 The Tibetan opera36
3.2 Critiques of the drama44
3.2.1 The division of roles44
3.2.2 Hybridity: fusion versus combination47
3.2.3 Characterization50
3.2.4 Theatrical conflicts56
3.3 Theatrical performance of the traditional Tibetan and other regional operas60
3.3.1 The traditional Tibetan version60
3.3.2 A later version of the Tibetan opera61
3.3.3 Ballet version62
3.3.4 Sichuan opera63
The script of the drama65
Endnotes91
Appendix Ⅰ: The ABC of Beijing opera110
Appendix Ⅱ: The ABC of Tibetan opera139
Works consulted and cited159
About the author162
Acknowledgement 163
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Another challenge is the issue of hybridity.Both the media and the overwhelming majority of the critics seem enthusiastic about the artistic fusion between Beijing opera and Tibetan opera.Such view has a traditional bearing since "harmony" is the catch phrase in all the forms of artistic creation while "difference" is something to be avoided.The more seamless fusion between the two art forms, the higher the caliber of the art.But as one of the cr
