The rituals, arrays and mini-dramas of Ma-Zu pilgrimage have always been the representatives of the local culture and are created as folk dances in performance. The goal of staging these dances was to refine grassroots materials into art works. In contrary to these dances, Yi-Tzy Folk Dance Theatre of Tainan deliberately integrated arrays and goddess Ma-Zu statues into the theatrical performance "Mo Niang". Ma-Zu statues circled the aisles of the auditorium and aroused audience interactions. This created the event much like Ma-Zu pilgrimage in the theatre. It was a new phenomenon in Taiwan's folk dance performance and raised the question of how to understand it. This paper proposes that this form of performance echoed the post-millennium shift in contemporary theater from focusing on the work on stage to create the immersive experience of the audience. At the same time, the aesthetic qualities of folk artists were brought out instead of refined. In this way, this paper discusses the alternative strategy for staging Ma-Zu pilgrimage in contemporary theater.