불교는 중국 고전희곡의 형성과 발전에 커다란 영향을 끼쳤다. 불교는 漢나라 시기 중국에 전래된 이후 魚龍曼延(어룡만연)과 같이 대형 幻術(환술)을 동반한 가무희 형식으로 중국 고전희곡의 형성에 커다란 영향을 끼쳤을 뿐만 아니라, 元雜劇(원잡극)이라는 희곡 작품의 발전과 성격에도 큰 영향을 끼쳤다. 특히 元雜劇 중의 度脫劇(도탈극)은 독특한 불교적 색채를 지니고 있으며, 雜劇 『西遊記』는 명대 소설 『서유기』의 형성에 막대한 영향을 끼쳤다.

1부 불교와 樂舞 · 百戱

1장. ≪佛國記≫와 ≪大唐西域記≫ 중의 佛敎 樂舞
1. 불교 악무의 의미 ··················································13
2. 불교 악무 개황 ·····················································15
3. ≪불국기≫ 중의 불교 악무 ······································19
4. ≪대당서역기≫ 중의 불교 악무 ································34
5. ≪佛國記≫와 ≪大唐西域記≫ 중 불교 악무의 의의 ······43

2장. ≪낙양가람기(洛陽伽藍記)≫ 중의 희곡(戱曲) 活動
1. ≪낙양가람기≫ 중 戱曲 活動의 의미 ·························47
2. ≪낙양가람기≫의 저술 배경 ····································49
3. ≪낙양가람기≫ 중의 희곡 활동 ································53
4. ≪낙양가람기≫ 중 戱曲 活動의 의의 ·························67

3장. 魚龍曼延 - 佛敎와의 연관성을 중심으로
1. 魚龍曼延의 의미 ···················································69
2. 시대별 魚龍曼延의 양상 ·········································71
3. 魚龍曼延과 불교 ··················································75
4. 魚龍曼延의 의의 ···················································91

2부 불교와 度脫劇

1장. 元雜劇 〈忍字記〉의 度脫 - 通過儀禮를 중심으로
1. 원잡극 〈忍字記〉 度脫의 의미 ··································97
2. 분리의례(分離儀禮) ················································100
3. 전이의례(轉移儀禮) ················································103
4. 통합의례(統合儀禮) ················································120
5. 원잡극 〈忍字記〉 度脫의 의의 ·································122

2장. 元雜劇 〈度柳翠〉의 度脫 - 통과의례를 중심으로
1. 원잡극 〈度柳翠〉 度脫의 의미 ·································126
2. 분리의례(分離儀禮) ················································129
3. 전이의례(轉移儀禮) ················································132
4. 통합의례(統合儀禮) ················································150
5. 원잡극 〈度柳翠〉 度脫의 의의 ·································154

3장. 元雜劇 〈猿聽經〉의 度脫 - 통과의례를 중심으로
1. 원잡극 〈猿聽經〉 度脫의 의미 ·································157
2. 분리의례(分離儀禮) ················································160
3. 전이의례(轉移儀禮) ················································162
4. 통합의례(統合儀禮) ················································177
5. 원잡극 〈猿聽經〉 度脫의 의의 ·································180

4장. 元雜劇 〈東坡夢〉의 度脫 - 통과의례를 중심으로
1. 원잡극 〈東坡夢〉 度脫의 의미 ·································183
2. 전이의례(轉移儀禮) ················································185
3. 통합의례(統合儀禮) ················································200
4. 원잡극 〈東坡夢〉 度脫의 의의 ·································205

3부 불교와 元雜劇

1장. 元雜劇 중의 佛敎劇 - 三敎合一을 중심으로
1. 원잡극 중 불교극의 의미 ········································211
2. 三敎合一의 내력 ··················································214
3. 원잡극 불교극 중의 유교적 성분 ······························218
4. 원잡극 불교극 중의 도교적 성분 ······························228
5. 원잡극 중 불교극의 의의 ········································233

2장. 雜劇 〈西遊記〉 - 캠벨의 영웅신화 관점에서
1. 잡극 〈西遊記〉의 의미 ···········································236
2. 出發 ·································································239
3. 入門 ·································································245
4. 歸還 ·································································255
5. 잡극 〈西遊記〉의 의의 ···········································261

3장. 雜劇 〈西遊記〉 중 唐僧의 人物形像
1. 잡극 〈西遊記〉 중 唐僧 인물형상의 의미 ····················264
2. 잡극 〈西遊記〉 이전 唐僧의 인물형상 ·······················266
3. 잡극 〈西遊記〉 중 唐僧의 인물형상 ··························271
4. 잡극 〈西遊記〉 중 唐僧 인물형상의 의의 ····················288

4장. 〈大唐三藏取經詩話〉와 雜劇 〈西遊記〉 비교 - 三藏法師와 孫行者의 인물형상을 중심으로
1. 〈大唐三藏取經詩話〉와 잡극 〈西遊記〉의 의미 ············292
2. 〈取經詩話〉 중의 인물형상 ·····································295
3. 잡극 〈西遊記〉 중의 인물형상 ·································306
4. 〈大唐三藏取經詩話〉와 잡극 〈西遊記〉의 의의 ············317

5장. 〈大唐三藏取經詩話〉와 雜劇 〈西遊記〉 비교 - 喜劇性을 중심으로
1. 〈大唐三藏取經詩話〉와 잡극 〈西遊記〉의 의미 ············320
2. 諧謔的 희극성 ·····················································322
3. 諷刺的 희극성 ·····················································334
4. 〈大唐三藏取經詩話〉와 잡극 〈西遊記〉의 의의 ············339

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