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DOI：10.3969/j.issn.1674-9391.2020.04.005Abstract：Through field investigation of traditional Tibetan opera， this paper tries to summarize the successful experience of its modern transformation from the perspective of “people involved with Tibetan Opera” so as to support and supplement the “new knowledge analysis” proposed by Zhang Jijiao 2018. With regard to Clifford Geertz s framework of “local knowledge”， Zhang Jijiao puts forward the analytic method of “new knowledge”. This article tries to use this method to explain the cultural transformation of traditional Tibetan opera. However， Zhang believes that only by combining the two methods can the issues related to the knowledge structure of the subject be revealed comprehensively in the process of its modern transformation. He proposes that “people involved with Tibetan Opera” should have both local knowledge and new knowledge in order to effectively promote both the traditional transmission and development of Tibetan opera in the new historical period in the New Era.
This article starts by sorting out the disputes caused by the “name and classification system” of Tibetan opera， and involves a discussion of the famous reformers who appeared during the more than 600 years of the history of development of the Tibetan opera. Their innovations of the Tibetan opera are not the same as the many reforms in current times which evaporated “like a passing glance”. The reason why their innovations were able to be handed down from generation to generation is associated with their deep understanding of traditional Tibetan opera， and their familiarity of traditional performing arts. Many interesting historical stories enlighten us about the importance of local knowledge for the modern transformation of traditional Tibetan opera.
In today s society， any region， or any art form， has inevitably been impacted by or involved with modernity to a certain degree， so， local knowledge is no longer all-encompassing and omnipotent. Faced with new problems that cannot be solved by local knowledge， we need “new knowledge”. There are two layers of new knowledge. On the one hand， it refers to scientific knowledge， which， in the view of Anthony Giddens is known as an expert system， and it is abstract. The implementation of such a “knowledge system” is associated with a specific place， and a place has its own social and cultural context. So， how this “knowledge system”， which embeds the specific context， becomes more important. On the other hand， for the Tibetan opera， there is also experiential knowledge， a kind of knowledge that accumulates gradually during the process of individually building one’s own “cellular society”. It is both public and private. Taking a Tibetan opera entrepreneur as an example， this article reveals some of his achievements in promoting the “industrialization” of Tibetan opera， and explores the reasons why he has the courage to try， to innovate and finally obtains these achievements from the aspect of his personal growth， especially from his education and work experience.
This article starts by sorting out the disputes caused by the “name and classification system” of Tibetan opera， and involves a discussion of the famous reformers who appeared during the more than 600 years of the history of development of the Tibetan opera. Their innovations of the Tibetan opera are not the same as the many reforms in current times which evaporated “like a passing glance”. The reason why their innovations were able to be handed down from generation to generation is associated with their deep understanding of traditional Tibetan opera， and their familiarity of traditional performing arts. Many interesting historical stories enlighten us about the importance of local knowledge for the modern transformation of traditional Tibetan opera.
In today s society， any region， or any art form， has inevitably been impacted by or involved with modernity to a certain degree， so， local knowledge is no longer all-encompassing and omnipotent. Faced with new problems that cannot be solved by local knowledge， we need “new knowledge”. There are two layers of new knowledge. On the one hand， it refers to scientific knowledge， which， in the view of Anthony Giddens is known as an expert system， and it is abstract. The implementation of such a “knowledge system” is associated with a specific place， and a place has its own social and cultural context. So， how this “knowledge system”， which embeds the specific context， becomes more important. On the other hand， for the Tibetan opera， there is also experiential knowledge， a kind of knowledge that accumulates gradually during the process of individually building one’s own “cellular society”. It is both public and private. Taking a Tibetan opera entrepreneur as an example， this article reveals some of his achievements in promoting the “industrialization” of Tibetan opera， and explores the reasons why he has the courage to try， to innovate and finally obtains these achievements from the aspect of his personal growth， especially from his education and work experience.