清代宮廷的月令承應戲中，元旦承應戲的數量最多，其中《喜朝五位》，或與《歲發四時》連演，或獨立上演，它經常是新年清宮第一齣搬演的劇目。此劇將「喜」與「方位」的概念擬人化、神格化，變成了喜神與八卦方位神；又將陰陽五行、八卦、方位等概念透過「站位」、「走位」具體表現於舞臺上，以表現新年四時行焉，萬物生焉之「喜」。過去對這齣戲的研究多聚焦在其政治、藝術、民俗、儀式這幾個方面的特徵來討論，卻鮮少有人關注其中的符號運用，及其所蘊含的「原始思維」。本文將從《喜朝五位》的文本內部出發，逐一分析此劇中喜神、八卦神、和合二仙三個角色，在中國傳統文化中所代表的涵義。也將此劇中一共四次的站位，以圖示化的方式呈現，並與中國傳統的方位圖對照，闡釋為何會安排這樣的走位，表現新年宇宙秩序的重現？此外也借重宗教學家耶律亞德（M. Eliade）「永恆回歸」的概念，試圖解釋此劇為何會選用這些角色人物代表新年之「喜」？如何與宇宙創生的概念結合，並且在戲曲表演，這一綜合的舞台呈現中，模擬宇宙的創生，並且讓人類重新回歸原初的狀態，以點明「新」年之題。本文期待以儀式、原始思維的角度，重新思考《喜朝五位》一劇的價值。

Theater had been a core part of Chinese court culture. “Xi Chao Wu Wei” was often been played on New Year’s Day in the Qing dynasty. The play humanizes the concepts of “joy” and “direction”, turning them into “the God of Joy” and “the God of Eight Trigrams”. And turns the concepts of “yin and yang”, the “five elements”, the “eight trigrams” into movement performed on the stage. In this paper, we will analyze the meaning of the three roles: “the God of Joy”, “the God of Eight Trigrams”, and “the Two Immortals of Harmony” in the play. In this paper, we also present the four positions in the play graphically and contrasts them with the traditional Chinese orientation diagram to explain why they are arranged in this way to represent the reappearance of the New Year's cosmic order. The play also draws on the concept of “Eternal Return” by M. Eliade to explain why these characters are chosen to represent the “joy” of the New Year. How to combine with the concept of the creation of the universe, and how to simulate the creation of the universe in the theatrical performance, a comprehensive stage presentation, and bring human beings back to the original state, to point out the theme of “New Year”. In this paper, we hope to rethink the value of the play “Xi Chao Wu Wei” from the perspective of ritual and primitive thinking.