進入新世紀後，新編京劇承繼自身系譜的諸般元素，挪用其他戲劇或藝術形式中相異、甚至衝突的特質，重新將各種符碼在時間與空間中排序，儼然逐漸形成新的範式。同時，並在京劇經常呈現的大歷史、大敘述之外，陸續出現幾部女性劇作家以女性為主角，從女性視角 (female gaze) 切入的劇本，討論女性議題，在「他的故事」(history) 之外，喃喃細說著「她的故事」(her-story)，探索女子的幽微心事、纏綿情懷，甚至生活的悲歡，以及對生命意義的執著。 本文以《王有道休妻》、《三個人兒兩盞燈》、《金鎖記》、《青塚前的對話》、《狐仙故事》、《孟小冬》等六部劇作為論述對象。 以往以女性為主角的劇本，不論作者是男性或女性，每每不免從男性視角切入，尤其和其他文類、藝術相比，自覺的女性書寫，還是有待墨跡文痕填寫的空白頁。然而，女性主體性 (female subjectivity) 是當今女子省思自己的關注重點。女子不應再只是被觀看的對象，在多元文化的今天，女性視角代表了一個新的選擇，也是另一種看待歷史的觀點。

The newly adapted Jing-Ju, after striding into the new century, has set up a new paradigm by inheriting elements from its own pedigree, diverting different, sometimes conflicting features from other forms of dramas and arts, and sorting symbols in space-time again. Meanwhile, in addition to the grand histories and narratives often presented in Jing-Ju, female playwrights have written plays with the incisions of female gaze and the discussions of female issues by female protagonists. These plays minutely mutter “her-stories＂ apart from histories, probe women´s delicate internality and lingering passion, and even explore their sorrow and joy in dailiness and inflexibility toward life meaning. This thesis discourses on six plays, including “Mr. Goodman Dumps His Wife,＂“ Three Persons and Two Lamps,＂“The Golden Cangue,＂“Whispers at a Tombstone,＂“Fox Tales＂ and “Men Xiaodong.＂ Written by each gender´s playwrights, former plays with female protagonists inevitably incise with male gaze. The female writing with self-awareness is yet un-replenished especially when comparing with other genres and arts. Nevertheless, women today pay close attention to female subjectivity when making self-examination. They shall not only be the object to be seen. Female gaze, at multi-cultural present, represents a new choice, and also a different viewpoint toward histories. The six plays mentioned above abandon the discourses of nation-states, transgress the norms of aesthetic professions, write down the experiences, histories, voices and desires of women themselves, and flee from the limitation of boudoirs to dissolve centralities, to subvert absence and deficiency, and to move from introspection, tentative protests and satiric debates to the seeking of self-confident. These plays, with the abiding innovation of the topics and material-acquirement in both contexts and forms, have mapped the new landscapes of the female writing of the newly adapted Jing-Ju with the focus on female protagonists. The appearance of these plays marks the abrupt abundance of female writing in the developing process of Jing-Ju, just like the initial melt of deep snow after cold winter.