V slovenski literarni zgodovini je dramatičark malo, a močno zaznamujejo dramsko produkcijo po letu 2000. V prispevku izpostavimo nekatera dela, ki kažejo motivno-tematske novosti in se povezujejo z (ženskim) spolom oziroma ženskimi liki: temo samomora, (nadomestnega) materinstva, bolezni, vloge žensk v skupnosti in pričakovanja družbe do žensk, odraščanja mladostnic, življenje homoseksualnih oseb ter ženske erotike. Razmišljanje sklenemo s predlogoma dramskih besedil avtoric Simone Semenič Pepelka in Varje Hrvatin Kako sem postal lisičje krzno, ki vključujeta pravljične motive ter sta glede na teorije razvoja literarnega branja primerni izhodišči za branje, pogovor in različne tipe uprizarjanja v osnovnošolskem oziroma srednješolskem obdobju.There are few female dramatists in Slovene literary history, but they have strongly marked drama since 2000. This paper focuses on certain works which are new from a thematic point of view and connected with (female) gender or female characters: the theme of suicide, (surrogate) motherhood, illness, the role of women in the community and society\u27s expectations of women, young women growing up, lesbian themes and female eroticism. Conclusions are drawn using the examples of two plays by female dramatists: Simona Semenič\u27s Pepelka (Cinderella) and Varja Hrvatin\u27s Kako sem postal lisičje krzno (How I Became Fox Fur), both of which include fairy tale motifs and, with regard to theory of development of literary reading, are suitable starting points for reading, conversation and different types of staging in primary or secondary school
