Derived from Shakespeare´s Macbeth, Tainaner Ensemble´s Sonata of the Witches – The Macbeth Verses（2003） and Macbeth（2007） highlighted how the rise of female power intimidated a male-dominated world. The significance of the Tainaner Ensemble´s Taiwanese adaptations, as a whole, was its challenge to the tradition of underlining the masculinity in Macbeth. By omitting most battle scenes, the adaptations refused to worship masculine violence and wars. After a severe cut of male roles, the expansion of female influence was obvious. Three witches were featured as the main characters to interlock all thirteen scenes. The regular presence of the witches reminded audiences of their influence on Macbeth and his wife. In the meanwhile, Lady Macbeth danced with the witches, implying her fall into becoming a witch to control her husband and seize the reign of government. This paper aims to investigate the rise of female voices and the importance of female characters in the process of adaptation, translation, and performance. First of all, the adaption positively responded to criticism and commentaries addressed by western feminists. Furthermore, the Taiwanese translation made efforts to seek rhythm; although the translation could not fully keep original rhythm, it offered a musical melody belonging to Taiwanese language. In performance, female actors used human voices, such as singing, chanting, shouting and screaming to increase the use of vocal range and their voices became an important supplement to music. To better the sound resonance, the witches move up and down accordingly with the variation of pitches in their singing. In chanting and singing the poetry, the body movement dramatized the roles the females portrayed and strengthened further the importance of the roles in the adaptation.