From the perspectives of geopolitics and memory writing, this paper addresses the motif of nostalgia in relation to the playwright's personal memories in four of Wang Chi-Mei's major plays, all published since the 1990s: The Bride and Her Double, The Living History of Wang Marry-King (Wang Chao-Chun) by Her Female Witch Friend, A Year, Three Seasons, and A-Yueh the Dancer Wang's plays vividly depict the past and present of history/her-stories intertwined with specific spatial experiences, constructing a multiple identity through the multi-layered spatio-temporal boundary crossing. In these plays, Wang also shows the fluidity of female characteristics and presents unique spatial imagination and narrative perspectives, forming fruitful dialogues with contemporary drama produced in Taiwan.