Tibetan opera embodies the culmination of various artistic methods such as Tibetan classical literature, music, dance, performance, and fine arts. It occupies an important position in the history of drama and literature in my country, especially in the history of drama and literature of ethnic minorities. When Tibetan opera was first formed, it was a kind of square opera with only one drum, one cymbal and a big trumpet. The characters were accompanied by drums and cymbals when they entered and exited the stage. During the singing, one person usually sang solo, and everyone sang and sang along. In terms of performance, Tibetan opera has six skills: singing, dancing, rhyme, speaking, technique, and expression. No matter where they perform, they always pay attention to stability and elegance; the singing tunes are determined by the characters. Except for the singing tunes of clowns, villains and song and dance songs, the singing tunes of each character in each repertoire are generally not borrowed casually. Most of the singing is taken from folk songs and rap music, with the characteristics of couplet style and distinctive local color. The music melody is simple, rough and vigorous, with many decorative coloratura and pauses, and the rhythm is relatively leisurely and slow. The repertoire of Tibetan opera is very rich, the most famous ones include "Princess Wencheng", "Prince Lausanne", "Langsha Wenbo", "Zhuowa Sangmu", "Dun Yue Dundup", "Zhi Mei Genden", " Traditional plays such as "Sugnima" and "Pema Wenba" are called "Eight Tibetan Operas". These plays are based on historical stories, folklore, Buddhist stories and secular human feelings respectively; they have strong story-telling and rich national color.