舉行於澎湖聚落宮廟的法教儀式項目繁多，諸如：請壇、參香、請三界、斬煞、安營、操營、結界、獻供、造橋、請婆、犒軍等，諸等儀式各有不同的目的、內容與意義。觀察若干儀式的某些段落，可以發現儀式執行者並非以法師身份施行儀式，而是裝扮成其他角色人物、鋪演著簡單情節，同時操作著不具法術意義的道具等，呈現戲劇性，而此般段落最常見於操營、結界與造橋儀式。本文擇澎湖縣馬公市案山北極殿為觀察例，該宮廟法師屬於普唵派，法師成員來自同聚落的子弟，法事傳統由宮廟前輩法師世代相傳。文中將討論此宮廟舉行之操營、結界與造橋儀式，並描述這些儀式裏具有戲劇性質的段落，分析其擁有之戲劇要素，及聚焦討論這些戲劇性段落裏的音樂內容，記錄其借引的曲目與使用的樂器，再分析諸等戲劇性段落裏的音樂運作手法。文末則討論這些戲劇性演出段落，對於儀式本身乃至聚落社會、傳統文化所具有的意義。戲劇性段落的存在，使得澎湖法教儀式音樂藉此能表現當地的傳統音樂，並使得儀式音樂的內容更函豐富多樣，而這些戲劇性演出，也使得澎湖聚落宮廟的法教儀式別具特色。

The rituals are diversified in the village temples at the Pescadores. Every ritual has its own purpose, content and meaning. Some rituals, such as Chau-Iang (操營), Keh- Kai (結界), and Cho-Kio (造橋), are performed by the youngest members of the group of magical masters.To scrutinize the procedures of these rituals, it can be found that the young masters disguise themselves as the other personages. They sing the tune, operate the objects of no magic, and move their bodies in a kind of theatric behavior. Most important of all, the tunes are borrowed from the local folk music, and so do the instrumental music.Based on the example of the temple of village An-Shan (案山), this paper will focus on the three rituals to describe the content of the theatric procedures, to analyze the application of music, and to discuss the implication of these dramatic performance.The dramatic performance within the rituals allows the ritual music more bountiful. Besides, it flourishes to become the distinguish characteristic of the ritual of Fa-Jiao at the Pescadores.