本文以儀式為切入點，集中於青霞寓客的雜劇《鐵塔冤》、黃之雋（1668-1748）的《忠孝福傳奇》及仲振履（1759-1822）的《雙鴛祠傳奇》，依序討論了地方公眾事件、家族史以及私人事件如何被搬上舞臺。本文思考修祠、祭祀等儀式對死亡的安頓意義，探討戲曲如何藉助劇本內外的儀式或儀式空間，強化表達不同的情感與立場，呈現仕紳文人如何試圖通過戲曲參與建構地方的記憶與秩序。文章利用地方志、詩文、筆記等史料勾稽背景，在此基礎上結合分析文本，旁涉清朝同類型的戲曲文本及舞臺演劇。本文顯示了清文人戲曲作為祭祀演劇的事實可能，及其在地方社會扮演的文化社會功用。本文也指出，通過戲曲創作保存私人或地方記憶，成為清代文人戲曲的一種書寫傳統。

This paper examines three dramas, Tieta yuan 鐵塔冤, Zhongxiao fu chuanqi 忠孝福傳奇 and Shuangyuan ci chuanqi 雙鴛祠傳奇, from a ritual perspective, to explore how Qing dramas draw on public affairs, family history and personal affairs. Much research discusses the important role rituals play in society, though their functions differ according to circumstance. This research places these dramas back in their ritualistic and cultural contexts and explains how dramas can act as an important vessel for communication in local society. Based on facts recorded in gazetteers, poems and essays, as well as by exploring relevant Qing dynasty texts and performances, this paper demonstrates how Qing literati attempted to use dramas to shape public views, emotions, local memory and social order through onstage and offstage rituals. In addition, this paper shows that Qing literati created a new literary tradition by preserving personal and communal memories through dramatic creations, thus developing a new space for writing outside historiography.