“Prohibited Drama” in traditional Chinese theater reflects the monitoring of art by politics. It shows the government’s fear of the power of drama. However, the issue is not only about politics but also about traditional Chinese theater itself. How did the actors and actresses deal with the situation when the plays they rely on to make a living were prohibited? How did the adaptation of drama coping with the political prohibition influence the theater conventions or even the culture of performing art? How did the audience treat those adapted versions of plays, and what kind of messages were revealed from their attitude? These questions are interwoven with the politics, the society, the customs, the drama-adaptation and the theater conventions, which are also closely related to the aesthetic taste of traditional Chinese theater. In this article, I try to resolve the above questions. The time scope is the present age (from 1 949 to now), the discussion is mainly focused on Peking Opera, and the region covers Taiwan and Mainland China.