本文擬透過三位當代台灣女性劇作者與導演汪其楣、許瑞芳、王婉容的不同表述台灣歷史的戲劇編導作品，來分析台灣後 90 年代戲劇展演台灣歷史從呈現大歷史轉向呈現庶民或女性的小歷史美學趨勢方向和另類創作路徑的方法。文中引用了後殖民、後現代歷史學的觀點，來分析作品的時代意義，也運用了文化地理學與社會學，論證這些展演對空間、身體與聲音的顛覆，對社會慣習﹙habitus﹚的批判與再現。再者，研究者也援引了女性主義、戲劇治療與口述歷史展演的觀點，來闡釋這些展演所產生的意義。其中包括了引導不同性別與年齡的民眾，透過對話與互動創作發聲，與觀眾透過展演溝通與反思生命歷程的異同與美感，得以重新定義彼此的舊歷史認同，進而協商出新的歷史認同。

This article aims to analyze the aesthetic change, alternative devising and performance strategies of Taiwan’s theatre presentations of history from the grand and official narrative of ‘History’ to the ordinary people’s and women’s alternative and multiple histories through some of the works of three contemporary female playwrights and directors: Wang, Chi-Mei, Hsu, Reyfang and Wang, Wan-Jung. The author employs post-colonial and post-modern theories and current historical theories to investigate the historical, social and cultural meanings of these works. The author also aims to apply the theories of contemporary cultural geography about space reproduction and Bordieu’s sociological theories of habitus to argue and demonstrate that these performances not only present some of the distinctive cultural habitus of Taiwanese people, but also to subvert and challenge the existing ideology on bodies and space. In particular, the author utilizes the feminist and drama therapy approaches, as well as oral history performance theories to illustrate the personal and social meanings that some of these performances create and impact on the audience and the actor-participants. Finally this article argues that the personal narratives blended with the community or female narratives in these performances can re-negotiate the new and ever-changing historicized cultural identities of Taiwan among audiences by identifying with, and reflecting on, the participants’ stories based on their similar collective memories of everyday life in Taiwan. Furthermore this article also proposes and argues that these three female playwrights and directors resonate and demonstrate a renewed trend of theatre devising aesthetics which highlights dialogue and interactive activities between facilitators or the directors with their actor-participants in the creative process, thereby including more participants’ voices to interpret and perform their multiple and diverse histories.