历来关于戏剧表演场所的研究,一般都把眼光集中在有形的建筑物“舞台”之上。成熟戏剧的演出无疑是在固定的“舞台”建筑上进行的,但是,与宗教祭祀仪礼紧密相连的民间艺能却并不是一定在固定的“舞台”建筑上举行的。野外的广场、山坡的空地、住宅的堂屋、寺庙的大殿等,经过一定的布置也能成为表演的场所。这里最应该注意的是“一定的布置”这个问题。民间艺能必须经过什么样的“一定布置”才能成为表演的场所,不探明这个问题恐怕就无法真正了解民间艺能表演场所的本质。 Historically, studies of theatrical performances have generally focused on the “stage” of tangible buildings. The performance of mature theater is undoubtedly performed on a fixed “stage” architecture, but folk arts that are closely linked to religious rituals are not necessarily held on fixed “stage” buildings. Field plazas, hillside open spaces, residential houses, temples, etc., after a certain arrangement can also be a place for performances. The most should be noted here is the “certain arrangement” of this issue. Folk art must go through what kind of “certain arrangement” in order to become a performing place, I am afraid we can not really understand the essence of folk performing arts.