弹指一挥间,半世纪光阴如梭,终生浸在地球极地,终生与藏戏创作和研究结缘,沉潜于舞台上抑扬顿挫的戏曲人生,浮荡于现实中风起云涌的人生戏剧,不免感慨系之。20世纪60年代中期的西藏,对于身处于祖国内地的人们来说,只知是“最落后、最黑暗、最野蛮、最残酷”的封建农奴制社会,刚刚实行民主改革从而得以“天翻地覆慨而慷”。而我作为一个毕业 Fingers, half a century time flies, life immersed in the polar regions of the earth, lifelong and Tibetan opera creation and research, immersive on the stage of the drama life, floating in the real life of surging drama, inevitably feeling Department of. In the mid-1960s, Tibet was only known to be the “feudal serfdom” with the “backwardest, the darkest, the brutal, and the most brutal” to those who lived in the mainland of the motherland. It had just implemented democratic reforms so that “ Turn over generous and generous. ” And I as a graduate