源於西方實驗性格的「小劇場」形式，於本世紀初跨越話劇疆界，分別進入兩岸的戲曲領域，包括崑劇、京劇、越劇、豫劇、川劇等大型劇種，幾乎都以「小劇場」的精神與形式，試圖為傳統戲曲開闢新局，築構新貌，可謂戲曲現代化發展的最新趨勢。由於小劇場藝術顛覆傳統、革命創新的性格基因，為戲曲提供了許多探索的可能性，各類型的戲曲小劇場作品，也在這股實驗創作的時代潮流中，呈現出各種現象與做法，更展示了戲曲現代化過程中不斷變化的景觀。本文以兩岸「小劇場京劇」之實驗作品為觀察範圍，包括大陸作品北京京劇院《閻惜姣》、《馬前潑水》、浙江京劇團《紅拂》、李六乙《巾幗英雄三部曲》(《穆桂英》、《花木蘭》、《梁紅玉》)；臺灣作品：國光劇團《王有道休妻》、《青塚前的對話》等八部作品，針對「小劇場京劇」的實驗性格特徵，突破革新思維，與具體實踐成果等進行探討，分析京劇在現代化進程中最新潮的創作理念與實踐經驗，掌握小劇場的演出特質對京劇現代化發展的影響。

The "little theater", a Western theater movement that has exerted tremendous inftuence on Chinese spoken drama, is making inroads into traditional Chinese theaters as well. Major theaters such as Kunqu opera (崑劇), Peking opera (京劇), Shaoxing opera (越劇), Henan opera (豫劇), Sichuan opera (川劇) have appeared in the forms of little theater, subverting and renovating the age-old theaters. This paper attempts to show the innovative and revolutionary characters of this new trend by examining eight recent productions of Peking Opera on both sides of the Taiwan Strait: in Mainland China, Beijing Peking Opera Troupe's Yan Xijiao (《閻惜姣》), Splashing Water in Front of the Horse (《馬前潑水》), Zhejiang Peking Opera troupe's The Red Duster (《紅拂》), and Li Liuyi's "Heroine Trilogy" (Mu Guiying, Hua Mulan, and Liang Hongyu) (《巾幗英雄三部曲》:《穆桂英》、《花木蘭》、《梁紅玉》); in Taiwan, Guo Guang Opera Company's Wang Youdao Divorces His Wife (《王有道休妻》) and Dialogues in Front of Jaojun's Tomb (《青塚前的對話》).