提到“仪式戏剧”一词,在能戏里可以解释为两种意思。我们先讨论一下关于能戏作为“祭仪艺能”的沿革及其分离的问题。12世纪,“猿乐”推动了“翁猿乐”祭仪的产生,然后一直到16世纪,人们将翁面奉为神体,并开展了神事艺能。另一方面,在镰仓时代后期即大约14世纪初,能戏和狂言确立了。在大和国时期,兴福寺、春日若宫、多武峰寺参与神事艺能的时候,原为与“翁猿乐坐”共同参仕的形态,渐渐发展为艺能。在此过程中,从15世纪左右,代表“大和猿乐”一派的观 Mentioning the word “ritual drama” can be interpreted as two meanings in the play. Let us first discuss the evolution and separation of operas as a “ceremonial art”. In the 12th century, “Ape Le ” promoted “Ape Lele ” ritual, and then until the 16th century, people will Ong face as the body of God, and carried out the divine arts. On the other hand, drama and rage were established around the early 14th century in the Kamakura period. In the period of Yamato period, Kofukuji Temple, Kasuga Rinomiya Temple and Multi-Takeshi Kogusu Temple were involved in the art of magical things, the original form was shared with “Weng Ao Le Sitai” and gradually evolved into art. In the process, from the fifteenth century onward, the concept of “Daiwa Ape-Le” was represented