本文圍繞近代以來廣西北部鄉村「三王」信仰活動中的神誕儀式和戲劇表演為中心展開論述，探討二者在王朝國家宣導的禮儀文化與地方民間文化互動過程中的重要中介作用。地方土神「三王」在北宋「王江古州蠻」納土稱臣之後得到皇帝兩次敕封，成為王朝國家權威聯結地方權勢的重要象徵。明代萬曆年間平定「懷遠猺亂」和清代雍正年間疏通都柳江航道之後，隨着官方控制的穩固和地方文教與經濟的發展，和里、南寨等村落中接受漢文化教育的本土低階士紳逐步興起，採借王朝禮儀和外來「神功戲」表演重構「三王」神誕儀式，將官方推崇的禮儀實踐與外來文化帶入地方村寨。因此，本文一方面考察中央王朝推崇的禮儀形式如何通過「三獻禮」祭祀儀式的展開進入到鄉村宗教儀式的系統之中，並且結合「神功戲」表演而逐步形成清代中後期以來地方「三王」信仰的神誕儀式活動；另一方面，考察本土歌唱傳統自身的發展和外來戲劇表演的「本土化」過程，以及二者的互動與交融狀態，揭示村民如何借助宗教節慶中的儀式與戲劇表演去創造和形塑自身的文化傳統。最後討論儀式實踐和戲劇表演在整合國家與地方之間的信仰、禮儀與文化傳統中的機制與作用。

This paper treats birthday rituals and operatic performances staged for gods known as the Three Kings (Sanwang 三王) in northern Guangxi villages during the late Qing and Republican periods. The paper's goal is to explore the mediating roles of these events during the interaction between imperial rituals and indigenous cultural traditions. After the Guzhou Man 古州蠻 of Wangjiang 王江 submitted to the rule of the Northern Song Dynasty, the Three Kings were granted imperial titles and became a vital symbol of the alliance between state authority and local power. The imperial state further consolidated its rule following the Huaiyuan Yao Rebellion 懷遠猺亂 of the sixteenth century and the dredging of the Duliu River 都柳江 during the eighteenth century, with education and the local economy becoming increasingly developed. This time period witnessed the appearance of a native lower gentry, which emerged in large numbers in Heli 和里 and Nanzhai 南寨. These elites worked to reconstruct ritual and dramatic traditions for the Three Kings, introducing state-sanctioned rites such as the Three Sacrifices Ceremony (Sanxianli 三獻禮) into the villages that worshipped these deities. This paper assesses the impact of such imperial ceremonies on village life, especially how they blended with local operatic performances in new ritual forms. There is also data on performances of local songs and the indigenization of outside dramatic traditions, all of which contributed to the long-term development of village culture. Finally, the paper's conclusion discusses the function of rituals and opera performances as forms of cultural mediation that helped shape the interaction between the imperial state and local communities.