《倩女離魂》雜劇，全名《迷青瑣倩女離魂》，元朝雜劇作家鄭光祖所作，取材自唐朝陳玄祐的傳奇《離魂記》，是元代著名的鬼魂戲之一。劇情主要描述張倩女離魂追尋愛情，而後魂體合一，完成才子佳人大團圓的結局。許多元雜劇的內容都與儀式息息相關，其中有明顯宗教儀式者，如《竇娥冤》、《桃花女》、《碧桃花》等。《倩女離魂》一劇雖無宗教儀式，卻也透露中國人對鬼魂的信仰觀念。本文欲以二十世紀法國人類學者范金納普(Arnold Van Gennep, 1873-1957)所提之「過渡儀式」(rites of passage)理論，探究《倩女離魂》劇情是否符合過渡儀式的分離(separation)、轉換(transition)、整合(incorporation)三階段，並進一步印證儀式、戲劇與中國文化的關係。

The Zaju The Soul of Chien-Nu Leaveing Body, written by Zaju playwright Zheng Kuangtsu in Yuan Dynasty, was adapted from the Chuanqi The Soul out of Body by Chen Hsuanyu, and it is one of the famous ghost plays in Yuan drama. The main plot describes Chien-Nu's soul leaves body behind to chase after her lover Wang, subsequently the soul and the body merge into a single one. Finally, Wang and Chien-Nu get marriage in a happy ending. The contents of Yuan Zaju correlate closely with rituals, thus many religious rites are presented as seen in The Injustice to Dou E. The Peach Blossom Woman, Lady Bikto and so on. Although The Soul of Chien-Nu Leaveing Body doesn't describe religious rites, it discloses the belief in the soul of Chinese. The purpose of this article is to analyze The Soul of Chien-Nu Leaveing Body with the rites of passage by Franch anthropologist Arnold Van Gennep (1873-1957). The rites of passage contain rites in three periods: separation, transition, and incorporation. I will explore whether the plot of The Soul of Chien-Nu Leaveing Body accords with the three periods and prove the relations about rituals, drama and Chinese culture.