臺灣廟會中的儀式、藝陣、小戲是舞台化民俗舞的代表性素材。舞蹈人致力將草根性強的田野素材精緻、創意化為可被欣賞的舞台作品，以此與民間活動區別。然而，舞劇《默娘》卻相反於既有舞台化民俗舞追求的美感形式，刻意將民間藝陣隊與媽祖神像融入劇場，製造遶境情境，引起觀眾參與互動。這成為此類舞蹈的一個新現象，但也產生如何解讀作品的問題。本文提出《默娘》呼應當代劇場形式，從關注作品自身轉向營造沉浸式體驗的劇場效果。同時，從精緻化民間藝師的身形動作回到彰顯其原有的美感特質。藉此，本文討論舞台化民俗舞在當代如何傳承與創新之另類策略。

The rituals, arrays and mini-dramas of Ma-Zu pilgrimage have always been the representatives of the local culture and are created as folk dances in performance. The goal of staging these dances was to refine grassroots materials into art works. In contrary to these dances, Yi-Tzy Folk Dance Theatre of Tainan deliberately integrated arrays and goddess Ma-Zu statues into the theatrical performance "Mo Niang". Ma-Zu statues circled the aisles of the auditorium and aroused audience interactions. This created the event much like Ma-Zu pilgrimage in the theatre. It was a new phenomenon in Taiwan's folk dance performance and raised the question of how to understand it. This paper proposes that this form of performance echoed the post-millennium shift in contemporary theater from focusing on the work on stage to create the immersive experience of the audience. At the same time, the aesthetic qualities of folk artists were brought out instead of refined. In this way, this paper discusses the alternative strategy for staging Ma-Zu pilgrimage in contemporary theater.