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道教舞蹈的虚拟性特征既鲜明又独具特色。其虚拟性内容主要指向两方面:一,道教舞蹈中空间环境之虚拟性,舞蹈中“天堂地狱”“华夏九州”等皆为虚拟性存在。这些虚拟性环境借助于舞蹈者的肢体语言或现场布景开显而出。“化境”“卷帘”“立狱”“罡单”的设置与铺排、高功法师的掐诀、存想、步罡、念咒皆可营造出虚拟的天堂、地狱、九州景象。二,道教舞蹈中形象的虚拟性。“神仙鬼魅”属于斋醮仪式舞蹈中“隐性的在场者”。“化神”“召神”“三献”“进表”“焚表”“发炉”“复炉”“请圣”“降圣”“发符”等环节皆暗示出“神灵神仙”的降临与在场。“召拷鬼怪”“借臂捉鬼”等环节则牵引出“邪精恶祟”的到场。这些“隐性的在场者”是虚拟性的存在,没有这些虚拟性的存在者,道教舞蹈的宗教意义与神圣价值荡然无存。
The virtual character of Taoist dance is distinct and distinctive. The virtual content mainly points to two aspects: First, the virtuality of the space environment in the Taoist dance and the existence of the virtuality in the dance such as “Heavenly Hell” and “Huaxia Kyushu”. These virtual environments are revealed by the dancer’s body language or scene setting. “Settlements ” “Blinds ” “Prison ” “Gang single ” set and layout, high power Master’s pinch tactics, Survival, Step Gang, Mantra can create a virtual paradise Hell, Kyushu scene. Second, the image of the Taoist dance in the virtual. “Gods ghosts ” belong to the vegetarian ceremony dance “hidden presence ”. “God” “Call God ” “Three contributions ” “into the table ” “burning table ” Descent Saint “” hair symbol “and other links are implied ” god deity “advent and presence. ”Call copy ghost “ ”borrow arm to catch the ghost “ and other links are pulled out ”evil evil sneaky “ of the presence. These ”hidden presence " is a virtual existence, without the existence of these virtual, Taoist dance religious significance and sacred value disappeared.