本文嘗試以源自福建莆田的傀儡劇「北斗戲」作爲一個個案，窺探中國宗敎儀式劇 裡「人生處境」——「神話故事」——「宗敎儀式」的結構關係。 傳統上，上演「北斗戲」是爲了還願謝神和祈求子嗣，這個特定的演出目的和場合 需求，很大程度上決定了這齣儀式劇的故事內容和演出方式。「北斗戲」故事的構成元素 (如神話人物，故事母題)和它們之間的組合關係，都是因應上述還願/祈子的儀式目的 而存在。在付諸實際演出時，戲劇演出和宗敎儀式交溶滲透，祭台和戲台互相轉位，進 出於虛幻故事和實際人生之間。簡單來說，就是通過傀儡戲的演出，完成一次還願/祈 子的宗敎儀式---方面重演酬神者的過去經歷，一方面重塑他們的將來處境。

This paper attempts to analyze the structural relationships among “life situation”, “religious ritual”，and “myth” embedded in the performance of the Pei-t’ou hsi，a ritual puppet play originated from P’u-t，ian，Fukien. Pei-t’ou hsi is usually performed before a wedding ceremony, on the ritual occasion of “thanksgiving” and/ or “asking for a new baby.” This specific performance context shapes the content (e.g., motifs, mythic figures) and the narrative structure of the play. The story of this ritual play is an allegory of the past experiences of the ritual’s participants (allegorization). In the performing process (dramatization), the puppet play and the religious ritual merge, and the boundary between the realms of the puppet stage and ceremonial altar blurs. Particularly in the “Passing the bridge” (kuo-ch’iao), the three axes of ritual/drama, illusion/reality, and past/future converge at the same point. Through the efficacy resulted from this ritual enactment, the future life situation of the participant can be transformed (transformation).