女性戏曲创作与批评自二十世纪初始,先后得到众多学者的研究。他们的研究,对于我们正确认识女性戏曲创作与批评起到了很大的推动作用。但同时,我们不可回避女性戏曲创作与批评存在着严重弊病,即“剧场性”的缺失,这也是女性缺席中国戏曲史的重要原因。本文即以此作为研究核心,首先对女性戏曲创作与批评“剧场性”缺失的现象做出具体分析,在此基础上,探讨这一现象出现的原因。通过对这一问题的研究,以期对中国戏曲史和女性文化有更深层次的认识。 Since the beginning of the twentieth century, female drama creation and criticism have been studied by many scholars. Their research has greatly contributed to our understanding of the creation and criticism of female operas. However, at the same time, we can not avoid serious flaws in the creation and criticism of female operas, namely, the lack of “theater sex”, which is also an important reason why women are absent from the history of Chinese opera. This dissertation takes this as the core of the research. Firstly, it makes a concrete analysis of the phenomenon of “drama” and “drama” in the creation and criticism of female operas, and on this basis, probes into the causes of this phenomenon. Through the study of this issue, with a view to the history of Chinese opera and women’s culture have a deeper understanding.