《瓊斯皇帝》是被譽為美國戲劇之父的尤金‧奧尼爾的一部表現主義戲劇。它描寫了黑人瓊斯這個曾經遭受白人社會壓迫、排斥的罪犯，搖身變為統治同色種土著人的皇帝，最後又被土著人推翻的經過。此劇揭示了瓊斯豐富的內心世界，並體現了榮格的集體潛意識的觀點，也反應出身分認同的主題。儀式具有轉換身份，維持社會關係，整合團體等作用與功能。儀式也引伸出一種過渡、質變、轉換的意義。這種源、自於人類生命歷程的轉換特性，在戲劇表演中，形成一種極其有張力的元素，同時也使劇作承載更多的文化性與深度。本論文以20世紀人類學家維克多‧特納（Victor Turner, 1920-1983）的儀式衍生理論「社會戲劇」與相關觀念「結構」、「反結構」，切入分析《瓊斯皇帝》劇中儀式。

＂Emperor Jones＂ is known as an expressionist drama by Eugene O'Neill, the father of American drama. It describes the black Jones, a excluded criminal, has suffered from the white's social oppression, transforming himself into indigenous Emperor who lead the people of his same color. Finally, Emperor Jones is overthrown by the indigenous. This play reveals the Emperor's rich inner world, and reflects Carl Jung's collective views of sub-consciousness, reflects the theme of identity as well. Rituals serve certain functions such as changing indentities, maintaining social relationships and integrating group s. Rituals also carry the meanings of transitions, qualitative changes, and tranformations. These features, which stem from the rites of passage, make powerful elements of dramatic tension in theatrical performances, contributing to the cultural depth of plays. This paper probes into the analysis of the rituals in ＂The Emperor Jones＂, based on the theory of social dramas by the 20th-century anthropologist, Victor Turner, as well as the related concepts of structure and anti-structure.