本文探討寶驗京劇《青塚前的對話》文本，由歷史記載及前人劇作中王昭君及蔡文姬故事的流變到本劇的創作爲止，試圖找出本劇作中的女性意識。《青塚前的對話》爲國光劇團2006年底於國家劇院寶驗劇場首演的作品，作者王安祈。劇本一開始敷演崔鶯鶯與李亞仙的爭辯，故事來自於明代李開先的作品《園林午夢》，而後昭君與文姬的相遇，則在此基礎之上展開。昭君在文人筆下多被描寫成忠君愛國之貞節烈女，而文姬雖有彩筆書寫白身，但她在抒發自己的遭遇及感受之餘，還是有所顧忌。在父權體系的禁錮之下，二女無法爲自己發聲。本文先說明劇本大致內容，再介紹歷史記載及歷代劇本中的昭君與文姬故事，找出其故事改編依據，試圖借用女性主義的觀點及「社會性別」(gender)理論，分析其中女性意識的覺醒及爲女性腳色全聲的軌跡。

In this article, I would like to discuss the feminine consciousness in the experimental Chinese opera, A Dialogue Before the Verdant Tomb, depicting Wang zhaojun and Tsai Wenchi. The two famous historical women, who married far away from their country and couldn't make decisions about their life, had similar fates. Their images were made by male dominance, and they were abridged by patriarchy. In past writings, the dramatic texts about Wang Zhaojun, was created as a woman who had the allegiance to her country and her king, even if the king did not really love her. Tsai Wenchi was an author, who could not express her own feelings by her literature. Both of them could not freely speak on their own in the male literary tradition. Thus, this article tries to discuss feminine consciousness in the experimental Chinese opera. A dialogue Before the Verdant Tomb, in terms of Feminisne and the theory of gender studies.