Founded in 1995, the Taiwanese Uhan Shii Theatre Group has created 12 distinctive reminiscence theatre productions and has performed locally in Taiwan as well as globally around the world. The company has developed its own theatrical aesthetics of memory, and their work not only represents the traditions of Taiwanese culture and habitus, but it also subverts its conventions. In this paper I will examine how the aesthetics of production represents Taiwanese cultural habitus and how their representation of female experience subverts orthodox cultural expectations and traditional gender roles associated with them. (Contains 7 notes.)