本文嘗試由現代性概念著手，爬梳中國、重要學者對於戲曲現代化的相關論述，並試圖以《金鎖記》、《孟小冬》、《百年戲樓》這三個作品為觀察對象，進一步探討分析新世紀新編京劇關於現代性的表現手法與呈現樣貌，探討其重要意義。其中，《金鎖記》在題材及人物的選取上體現現代感與時代精神，並展現時空虛實交錯的創新手法，使該劇突破了以往戲曲舞台的呈現方式與觀戲經驗。《孟小冬》在敘事結構與表現形式方面開創新局，為新編京劇探索出另一類可能發展途徑，且該劇所體現的抒情視界，又顯露出臺灣新編京劇的創作思維與方向，開始回歸戲曲本我抒情特性與美感。《百年戲樓》敘事結構脫舊出新，甚具當代意義，而該劇所闡述與建構的自我史觀，實為其本土視角與戲曲的現代性之展現。

This study first discusses the concept of modernity, and then tries to explore the related discourse on the modernization of Chinese opera in the writings of important scholars in both China and Taiwan. Finally, taking The Golden Cangue, Meng Xiaodong and One Hundred Years on Stage as examples, the study discusses the performance skills and presentation styles of Modernity, and tries to find its crucial meaning in Taiwan’s new Peking Operas of the 21st century. Due to the modern styles and spirit shown in the theme and characters, as well as the innovative overlapping of both space and time and the real and virtual worlds, The Golden Cangue represented a breakthrough in the performance methods and theater experience of traditional opera. Meng Xiaodong paved a new path for new Peking Opera owing to its innovative narrative structure and performance style. Nevertheless, the libretto of the opera indicates that the ideas and direction of Taiwan’s latest Peking Opera creation mark a return to the original features and aesthetics of the librettos of traditional operas. The narrative structure of One Hundred Years on Stage is innovative and modern. The historical viewpoint on selfhood, as expressed and developed in the opera, is a presentation of both local views and the modernity of opera.