As an integral part of human culture, drama is closely related to other cultural elements. Both European dramas and national dramas in some countries in the East can be traced back to ancient sacrificial songs and dances. European drama originated from song and dance performances at ancient Greek sacrificial ceremonies. In ancient Greece, a ceremony of offering sacrifices to Dionysus, the god of wine, was held every spring and winter. During the spring festival, some people disguised themselves as Satiros, the companion of Dionysus, and everyone sang and danced in praise of Dionysus' achievements, which was called "Ode to Dionysus". When festivals are held in winter, people dress up as birds and animals and parade in carnival, which is called "the song of carnival team". By the end of the 6th century BC, when arion was performing the ode to Dionysus, he improvised a poem to answer the questions of the captain of the song, mainly describing the deeds of Dionysus. Thespis began to add an actor to the song and dance of Ode to Dionysus, and he took turns to play several characters and talked with the captain of the song, which can be considered as the initial dramatic factor. Aeschylus (525 ~ 456 BC), the founder of ancient Greek tragedy, increased the number of actors to two, gradually reducing the factors of song and dance narrative, increasing the factors of drama, and making it dominant in the performance. At this point, drama has taken shape as an independent art style. In the 6th century BC, the "Song of the Carnival Team" developed into a farce in Meghala, Greece, which can be regarded as a primitive comedy. In 487 BC, Athens officially staged a comedy at the sacrificial ceremony. At that time, there were only three actors in the comedy, and the role of the chorus was not as important as in the tragedy. In the development of Greek comedy, the role of the chorus became smaller and smaller. The history of oriental national drama is shorter than that of European drama. Indian drama originated before the 1st century BC, and the performance at the folk games to meet the gods was regarded as the bud of national drama. By the 2nd century, the first drama theory work "Dance Theory" had appeared in India, which indicated that the drama art had reached maturity. The consanguinity of China's traditional opera art can be traced back to many elements, such as song and dance, sorcery and so on. By the time of the Zhou Dynasty, there had been imitative drama factors in the ceremonial songs and dances of the court. As the predecessor of the actor art in traditional Chinese opera, it includes the wizard who prayed for blessings in ancient times and the later actress. By the Tang Dynasty, the ancient song and dance had developed into a small-scale song and dance drama, and the excellent performance since the Zhou and Qin Dynasties had developed into a military drama. The former is still dominated by singing and dancing, but there are imitations of characters and relatively complete story plots, while the latter is dominated by imitations of characters and simple plots, with elements of singing and dancing mixed in. It is generally believed that China Opera has developed into a complete and independent artistic style, which is Yongjia Zaju in the 12th century Song Dynasty, also known as "Southern Opera". In Japan, ancient people dressed up as gods or demons with masks, praying for a bumper harvest and reproduction. This primitive art "energy" can be regarded as the embryo of drama. The ape music, which was formed around the 12th century, added acrobatics, songs and dances, and was still mainly used for sacrificial activities in rural areas. In the late Middle Ages, Nenglue and KuangYan were founded. The former won by singing and dancing, while the latter paid more attention to dialogue and action, but both of them were highly sacrificial. Song and dance and drama are related by blood, but in the development process, European drama and eastern national drama are very different. In the process of the formation and development of European drama (starting from ancient Greek drama), the elements of song and dance gradually decreased, while the dramatic factors gradually increased and became the dominant factor, and finally developed into a drama form with external body movements and dialogue as the basic means. However, in the eastern national dramas, most of the dramatic elements are gradually enhanced, and a large number of song and dance elements are preserved, forming the artistic characteristics of the integration of song and dance lyricism and drama. The latter can take China opera art as an example. This difference between eastern and western drama constitutes two branches of human drama culture. Taking the sacrificial ceremony of ancient people as the origin of drama shows that drama is closely related to primitive religion. Whether people worship totems and imitate animals in primitive society, or the ancient Greeks dress up as Satiros the sheep and perform, or the Japanese perform in temple ceremonies, they all contain the elements of public imitation, which is precisely the most important factor that constitutes the drama. Even in modern drama and contemporary drama, it is still the basic characteristic of drama art that actors imitate (play) roles in public. If drama performance is regarded as a ceremony, its consistency with sacrificial ceremony lies in the form of triangular feedback collective experience between actors and audiences, and between audiences. Of course, although sacrificial ceremony is similar to drama performance, it is not a real drama art after all. From the former to the latter, there is a process of development. In the middle, the essence of drama art is gradually developed and improved and gradually recognized by people.