長期以來，傳統戲曲的審美標準與思想情感，皆是以男性世界的規則與典範作為依據，女性在漫長的戲曲史裡一直由男性代為發言，並作為一種被動的依附性存在。女性話語的匱乏使得當代戲曲在繼承傳統時有所質疑：古代女性究竟擁有什麼樣的情思？戲曲又如何透過重新的詮釋創作召喚當代觀眾的理解與認同？近年來，臺灣劇場出現了一系列以女性思維與情感作為創作主題的新編京劇，除了企圖挖掘缺席已久的女性聲音之外，更試著鬆動傳統戲曲裡二元對立的性別關係，透過女性視角的提出解構了文本原有的象徵秩序，從而開展出更為豐富的戲曲主題。這一連串的顛覆與變革，或者可以將其定位成一種「陰性書寫」－陰性並非單指女性創作，而是在面對著嚴謹而深厚的戲曲傳統時，不再預設特定規則，嘗試任何可能的新書寫策略：顛覆、戲擬、解構、捨棄，創作出屬於當代戲曲自由而多義的文法內涵。這篇論文將以近年國光劇團幾部深具實驗意義的新編京劇作為討論對象，分析當代戲曲創作如何建立起戲曲新的敘述模式與美學內容，並進而架構起一個包容而流動的性別對話空間。

In traditional Beijing opera aesthetic standards and sentiment have long been based on the perspective of men, such that women play a passive and subsidiary role, with their sentiments being expressed through male characters. The dearth of female voices in traditional Chinese drama has given rise to a number of questions: Just what were the sentiments and views of Chinese women in past ages? How can traditional drama be reinterpreted in such a way as to make it more accessible and acceptable to modern audiences?In recent years a number of Beijing operas giving explicit expression to the views and sentiments of women have been produced in Taiwan. In addition to attempting to recover the long-absent voice of women, such productions strive to relax the gender-opposition typical of traditional Chinese drama, enriching the dramatic themes by using the feminine perspective to deconstruct the original symbolic order of the text. Such productions can be seen as a type of "Écriture féminine." In subverting the precise and rigid conventions of traditional Chinese drama, these innovative productions create a variety of connotations by employing a wide range of literary devices, including subversion, parody, deconstruction, and abandonment.This paper examines a number of the experimental Beijing operas produced in recent years by the Guoguang Opera Company. An analysis is made of the narrative style and aesthetic content used in these productions to create an open-minded and fluid space for engaging in gender dialogue.