“戏曲”和“宗教”是人类心灵需求的产物,也是历史文化发展的必然结果。它们为人类创造了一个观念的世界、情感的世界,一个心灵可以得到慰藉、精神可以寄托的世界。作为宗教行为活动层面的“仪式”与作为戏曲艺术实践活动的“演出”都以“装扮表演”为中心,虽有内部结构的诸多不同,却在行为活动的可重复性和可循环性、装扮表演的隐喻性和象征性,以及对主体心理和社会成员的化育和整合功能上,呈现出惊人的相似性。宗教在情感体验层面和思想观念层面与戏曲艺术的一致性,不仅体现在二者对主体心灵作用和社会功用的一致上、对客观时空的观念化上,也体现在二者在“行为活动层面”所遵循的是社会成员的心理逻辑和情感逻辑,而非是事物自身发展的逻辑上。 “Drama ” and “Religion ” are the product of the needs of human souls and also the inevitable result of the development of history and culture. They have created a world of ideas, a world of emotions, a world in which the soul can be comforted and the spirit can be placed on. As the “ritual ” at the level of religious activities and “performance ” as the practice of opera art all center on “costume ”, although there are many differences in the internal structure, but in the activity of the repeatability And metaphorical and symbolic of recurrent, dress-up performances, as well as striking resemblance to the psychological and social functions of the nurturing and integrating members of society. The consistency of religion between religious experience level and ideological level with opera art is not only reflected in the fact that the two are in agreement with the psychic function and social function of the subject but also in the conceptualization of the objective time and space as well as in the behavioral activities Level "is followed by the psychological logic of members of society and emotional logic, rather than the logical development of things themselves.