欧阳友徵在《戏剧春秋》上发表同题文章认为,在舞台上,不同阶级的神鬼戏,是不同阶级戏剧神鬼观的体现,因而出现了各种各样的神鬼戏:一是以鬼神为载体,表现迷信思想的鬼神戏,如北宋时汴梁出现的连台本戏《目连救母》,中世纪欧洲教堂里的宗教鬼神观即属此类。这类戏是对人类尊严的侮辱,对人的价值的否认,对人类历史前进的阻碍和反动,但此类戏也因科学知识的普及而“寿终正寝”。二是以鬼神为外壳, Ouyang Youzheng in the “Spring and Autumn Annals of the Year” published the same title article that on stage, different classes of God’s ghost drama, is a manifestation of the gods and ghosts of different class drama, so there have been a variety of gods ghost drama: First, Ghosts and God as the carrier, the performance of superstition thought ghosts and gods drama, such as the Northern Song dynasty Liang Lian appeared in the drama “Mulian saved his mother”, the medieval European Church religious ghosts and gods that belong to this category. Such plays are an insult to human dignity, a denial of human values ​​and a hindrance and reaction to the progress of mankind’s history, but such plays are also “brought to an end by the spread of scientific knowledge.” Second, ghosts and gods as the shell,