Chr Shuei Jing Tan (inviting Gods to purify the water and create a sacred space, 敕水禁壇) is a Taoist rite which can wipe out the dirty stuff and stop ghosts’activities at the Taoist ceremonial space. The ritual purposes and performance styles of cheng-yi sect and lin-pao sect Chr Shuei Jing Tan are pretty similar. Both are used in the Taoist religious services (chien chiao) of three days and longer, and contain complicated theatrical actions. Master Taoist priests of cheng-yi will perform the high-spirited movements of playing jien (a kind of ancient weapon) and destroying the bronze flag column. The orchestra will also play the music of fourteen Kunqu tunes which are similar to that of Beiguan play Dao Tung Chi (《倒銅旗》). In aspects of performance space, content, characters, orchestra, tunes, language, and body movements, this ritual is very similar to traditional theatre, especially a military play. Since the purpose of Chr Shuei Jing Tan is to clean the ceremonial space and facilitate the smooth progression of the whole ritual, the public is in general not permitted to witness it. However, when there is competition among different Taoist groups, this rite can also be shown as da wu kung, and performed in front of the general public. This phenomenon demonstrates the grassroots of Taoist priests, as well as the intimate connections between Taoist ritual and the folk culture. This paper will use Huang Ching-lung’s “Lei Jing Tan” Tai Shan Cheng Yi Chr Shuei Jing Tan Shiuan Ke (太上正壹敕水禁壇玄科) as a central focus. It will analyze the performance texts of the rites, master/student relationship, role-playing, stage actions, training process of the priest from a theatrical perspective. It will also investigate the relationships between ritual and theatre, Taoist priests and Taiwanese theatre to gain further insights into Taoist rites and the essential foundation of ritual performance.