近年来,我国戏剧界又拓展了一块新的领域,这就是对傩戏与目连戏的探索与辨析。二者研究有分有合,携手并进,比较起来,就其影响与成果而言,目连戏的研究更深入一些,这是符合客观规律的,因为对傩戏的研究主要是在探讨中国戏剧的孕育与发生,属于史前期。而目连戏的诞生则意味着中国戏剧已开始步入了成熟期,后者距离我们近一些,内涵比较具体,成果也易于显著。目前的问题是需要拓展研究层面,进行综合探索,把目连戏作为一种特定的文化现象来进行审视。笔者撰写本文的主要目的,是想从宗教学的角度探索目连戏的孕育、形成,从而认定其在文化史中的地位与作用。印度目连故事的东渐目连戏是宗教戏,目前已被大多数研究者所承认。但目连戏是集儒、释、道三教为 In recent years, the theater industry of our country has expanded a new field. This is the exploration and discrimination of the Nuo opera and Mulan play. The research on both sides is in harmony with each other and goes hand in hand. In terms of their influence and achievements, the study of Mulan Theater goes deeper. This is in line with the objective law because the study of Nuo plays is mainly about the study of Chinese drama The birth and occurrence, belong to the prehistoric period. The birth of Moutai Opera means that the Chinese drama has begun to mature, the latter is closer to us, the connotation is more concrete and the results are also easy to be significant. The current problem is to expand the research level and carry out a comprehensive exploration to examine the Mulan Drama as a specific cultural phenomenon. The author’s main purpose in writing this article is to explore the birth and formation of the MENGLIAN drama from the perspective of religious studies so as to confirm its position and function in the cultural history. The East Side Story of India’s Megatrends is a religious drama that has been recognized by most researchers. However, even the drama is set Confucianism, Buddhism and Taoism for