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The study attempts a historical view of ritual and theatre as 'basic categories' in cultural studies. It examines three borderline cases situated between ritual cult and theatrical performance. These are used to indicate various configurations of rituality and theatricality dependent on the superordinate cultural systems prevalent at a given time. The description of these dependencies not only opens up new avenues for interpreting the texts in question, but also sharpens the contours of the categories of ritual and theatre as historically specific and mutable cultural models of human action.