Abstract: Since the Ming and Qing dynasties, Mulian (Moggallāna) folk-opera about howMoggallāna saves his mother from Avici Hellhad become the main performative mode of Buddhist deity-worshipping contest. On the level of narrative function, the performance has three types of ritual: those of leading-in and leading-out ritual,, dramaturgic ritual and intervention ritual. The introduction of ritualistic elements into the contest creates a unique space for Mulian Opera in the forms of the geographical space constructed by sacrificial circles and ritual venues, the life space enacted by the rites of life and rites of custom, and the cosmic space of human-deity interaction. The three types of space enables the transcendence from phases of the ritual to the eternity of nirvana in life experience, and this may the ritual to from the transient to the eternal, constitute the deep-rooted significance to the human society. In the deity-worshipping contest, "off-stage performance" is an important component with unique creativity. Put into the horizon of modern Western theatre theory, off-stage performance not only caters to the audience's revelry but also serves as a performative ritual based on the representation of religious ecstasy.

Key words:

Mulian (Moggallāna) folk-opera, type of ritual, narrative function, order of life, performative mode