本論文探討80 年代以降臺灣新編京劇中女性形象為主之劇作，傳統京劇及新編京劇在劇本架構及情節有許多轉變，新編京劇主題呈現的現代思維亦十分多元，性別議題則為其中之一。2008 年王安祈《絳唇珠袖兩寂寞—京劇•女書》一書，其中收錄《王有道休妻》、《三個人兒兩盞燈》、《金鎖記》及《青塚前的對 話》四劇，內容皆以女性為主，在傳統女性形象有所突破及探索，故本論文以此劇作集為主要文本範圍，藉此凸顯臺灣新編京劇形塑女性形象時所展現的文化觀。 全文首先陳述臺灣新編京劇發展及走向，其後概述四劇原作或故事原型之女性形象，與新編劇作中重新形塑的女性比較，顯現傳統女性形象之處境及現代女性形象之嬗變。再將新編京劇中的女性主題做一整理，探討傳統女性在親情、愛情及友情之間的情感流動，論述別於傳統敘事風格的情感渲染手法及女性編劇在劇情描繪上所呈現的女性思維。 新編京劇舞台表現手法的論述重點置於導演及舞台藝術，參照劇作演出情形，藉由觀眾視角論析舞台效果所創造的現代化女性形象，並藉著現代劇場中所展現的表演藝術，探討女性形象在舞台上的實踐。 Since 1980, Taiwan's new editing Peking Opera have been changed in structureand plot in the script. The modern thinking that the new editing Peking Opera presented is also very diverse, gender issues is one of them. Wang An-Chi’s book《絳唇珠袖兩寂寞—京劇•女書》in 2008, which collected《王有道休妻》、《三個人兒兩盞燈》、《金鎖記》and《青塚前的對話》. The four play breakthrough the traditionalimage of women, therefore this thesis use this book as the main text area, to highlight Taiwan's Peking Opera of shaping the image of women. The first statement is the development and direction of Taiwan’s new editing Peking Opera, followed by an overview of the prototype and the original story’sfemale image, and compared with the newly edition, it shows theevolution betweenthe traditional female situation and the modern female. Then investigate theemotional flow about traditional women in the family, love and friendship by new editing Peking Opera, discuss the difference with thetraditional Peking Opera and the female thinking that women writer presented. New editing Peking Opera’s technique of expression emphasize by director and art of stage, analyse the stage effects created by the image of modern women and modern theater through the audience perspective, in the show through the performing arts to fulfill the female image on the stage.
