2010 年前後推出的京劇歌唱劇《孟小冬》與中文歌劇《畫魂》，分別以京劇坤伶孟小冬與畫家潘玉良為主角，藉劇場呈現兩位女性藝術家的生平紀事。與其他形式的傳記相較，其差異不僅在於從文字到劇場的變化，更在於二劇皆充分倚賴音樂唱曲作為探索女性藝術家內在情感與生命價值的表現手法。兩齣戲劇以人物情感與流動記憶取代順序的事件記載作為結構戲劇的方式，透過不同的聲音層次的設計交織成人物話語與情感的多種面向；並以其生命裡的場域遷移經驗呼應她們在藝術領域、世俗價值以及性別規範的僭越。劇作家在有限的劇場時空裡以藝術的追求為兩位女性進行價值定位，並將之作為貫串全劇、推動戲劇人物行動的情感意志。這篇論文將討論兩齣戲劇如何透過劇場表演形式的設計詮釋女性藝術家的生命，以及其中所透露出的性別意義。

Around 2010 two plays came out depicting the lives of two female artists: Meng Xiaodong, a Beijing opera about the actress Meng Xiaodong, and A Soul Haunted by Painting, a Western opera in Chinese about the painter Pan Yuliang. Both plays are adaptations of biographies and make ample use of music and lyrics to explore the values and inner emotions of these two female artists. Moreover, instead of depicting a series of events, each play tells its story through the flowing memories and emotions of the protagonist, and different voice levels are interwoven to express a multiplicity of emotions. Also, the various relocations of the protagonists are used to reflect the major shifts in their work, values, and views on gender. Within the restraints of time and space of the theater, each dramatist shows how these two women used the pursuit of art to form their values, and this is what serves as the central theme and impels each character’s emotions and will. In this paper I discuss how each of these productions uses the artistic form of a play to depict these two female artists and their gender consciousness.