臺南市具有歌舞性質的藝陣團體，大多具有悠久的歷史背景，表演形式是屬於具有民間色彩的「踏謠」表演，內容豐富而多樣，具有儀式性與娛樂性，而且這傳統表演藝術迄今仍流傳於民間。這對於傳統表演藝術的研究而言，是一項十分重要的文化資產，經由這些歌舞的演出，我們可以見到民間歌舞早期的表現方式與質樸的型態，不僅能見到戲曲發展路徑中的重要過程，更可視之為文化洪流中，被傳承保留下來之動態文化藝術。本文首先探析臺南藝陣歌舞展現儀式化之特殊性，以「竹馬陣」為例進行論述，竹馬陣的儀式性表演「陣式」與「隊形」變化有九種，包含：1.繞陣—圓陣；2.向田府元帥參禮參拜—圓陣、橫列陣；3.向祖師爺參禮參拜—圓陣、橫列陣；4.開大小、開四門—圓陣、方陣；5.變化繞圓—圓陣、交織陣；6.分陣陰陽對禮—直行陣、對列陣、交織陣；7.分陣陰陽繞陣—直行陣、交織陣、圓陣；8.陰陽交叉會陣—圓陣、交織陣；9.合旗入陣—直行陣、圓陣等。其次以圖文並列的方式，分析臺南藝陣歌舞身段之豐富性，以五個項目探析藝陣演出主要腳色「旦」與「角」的「腳步手路」，包含：1.手勢動作；2.腳步動作；3.梳妝；4.旦、角對弄身段；5.拜廟行禮等。其三探究臺南藝陣表演對弄歌舞的多樣性，包含三種類型：1.傳統宗教古路型；2.現代營利活潑型；3.現代健身娛樂型。最後論述臺南市具有歌舞或雜技為主的藝陣團體，因應社會型態的改變而逐漸式微，建議表演團隊與相關政府部門的因應之道。期望本論文對於臺南藝陣歌舞的身段表演特色之分析與論述，能激發更多學者參與關注傳統表演藝術，讓年輕民眾能更深入的理解藝陣團體表演身段的意義與功能。

The Yizhen troupes in Tainan that perform singing and dancing have mostly been long-established, and their performing style is Tayao, a folk art with local color being rich in content, ceremonial and entertaining, and still popular among people. As for the research of traditional performing arts, this is a very important cultural asset. Through these singing and dancing performances, we could have a glimpse at the early performing style and simple forms. We could witness not only the important process of Xiqu development, but also this dynamic cultural art being preserved in the torrent of culture. This paper will firstly begin by exploring the distinctiveness of the ritualization of Yizhen singing and dancing, and examine Zu-ma-zhen as the example. The ritualistic performances of Zu-ma-zhen are in nine “arrays” and “formations,” including (1) Rao-zhen: Yuan-zhen (a circle array); (2) attending the worshiping ceremony for Tianfu Yuanshuai: Yuan-zhen and Henglie-zhen (a cross array); (3) attending the worshiping ceremony for Zushiye: Yuan-zhen and Henglie-zhen; (4) Kai-da-xiao and Kai-si-men: Yuan-zhen and Fang-zhen (a square array); (5) Rao-zhen in change: Yuan-zhen and Jiaozhi-zhen (an intersecting array); (6) Fen-zhen-ying-yang-dui-li: Zhixing-zhen, Duilie-zhen, Jiaozhi-zhen; (7) Fen-zhen-ying-yang-rao-zhen: Zhixing-zhen, Jaiozhi-zhen, Yuan-zhen; (8) Ying-yang-jao-cha-hui-zhen: Yuan-zhen, Jiaozhi-zhen; (9) He-qi-ru-zhen: Zhixing-zhen, Yuan-zhen and etc. Secondly, description and pictures will be juxtaposed to analyze the richness of performing features of singing and dancing in Yizhen, Tainan. The “kha-pō chhiú-lō” (physical gestures and movements in Taiwanese) of “Dan” and “Jiao” will also be investigated from five perspectives, including (1) hand gestures; (2) feet and leg movements; (3) makeup; (4) the interactive movements (Duinong) for Dan and Jiao; (5) to salute and worship in the temple, etc. Thirdly, the diversity of Duinong singing and dancing in Yizhen, Tainan. They are three types: (1) the traditional religious classic type; (2) the modern commercial active type; (3) the modern body-building and entertaining type. Lastly, the paper will discuss how the Yizhen troupes in Tainan that chiefly perform songs, dances and acrobatics have been affected by the change of the current social modes and then gradually decline, and also give advice to the acting troupes and the government how to cope with the change. Hopefully, the analysis and discussion on the performing features of Yizhen troupes in Tainan presented in this paper will inspire more researchers to pay attention to the traditional performing arts, and encourage young people to appreciate more deeply the meaning and function of the performing features of Yizhen troupes.