In mid-April 2000, the Cross-Border Culture Foundation from Taipei cooperated with the Errand Theatre, the Hiking Image Productions, and the Taiwan Popular Music Research to establish the Pied Piper Disaster Area Arts Task Force in Puli, Shuangqi tribe of Hoping Township, and Shihkang. The task force was stationed there for more than one month to conduct the photography, singing, and drama courses in a hope to teach people in the earthquake-stricken areas how to observe their own living environment through the camera lens, songs and drama, how to reflect and restart their life from the impact of earthquakes, and how to rebuild their own hometown. Under the guidance of the Cross-Border Culture Foundation, the Shihkang Mama Theatre was established in 2000, one year after the 911 earthquake. After receiving nearly three years of theatric workshop training, these Shihkang women, who are also mothers, wives, and fruit growers (or breakfast shop owners), prove through drama that they are not only tough but also full of maternal instincts. Their acting has also shown to the outsiders that there is a great opportunity for people in the earthquake-stricken areas to stand up and reconstruct their hometowns. Their acting always leads the audience to an alternative thinking about the aftermath of a disaster. Development The Shihkang Mama Theatre has been performing constantly in the past three years. They have always presented their shows in a “people-theater” way. They have represented the Shihkang Township to conduct dialogues with people of other communities, sharing their own growth experience and their female consciousness. They are cultural representatives of Shihkang community and through their touring performances, they prove they have not only walked out from the earthquake aftermath but have also reshaped their own female consciousness with new visions. Process To a certain extent, the Shihkang Mama Theatre is a specific case of how the community theatre can be combined with adult education. Watching those moms performing River in Our Hearts, we see that the Shihkang Mama Theatre has practiced and practiced very hard, trying to figure out how to present the show in an aesthetic way and raise up the texture of the show. They have paid so much attention to every single detail that they can perform the show in a lively and vivid way. That is also the reason why the stereotype that the community theatre is rough and lacks of aesthetics is eventually changed. The general public do not cast sympathy to the earthquake-stricken community theater group now but try to understand the connotation of what the Shihkang moms are conveying through their performances. To the Shihkang Mama Theatre, a play is not just a play but a journey of life. Shihkang moms always hope that through the drama they can continue to express their care for the community, its culture, and its reconstruction. Outlook The integration of adult education with theatric performance can usually empower the marginalized and vulnerable groups by giving them a channel to voice out their inner feelings. The theatric aesthetics shown by the Shihkang Mama Theatre is built on the cognition of gender and class, key items that the community theater must reflect, cultivate, and deepen knowledge. It is suggested that the drama workshops and courses must be continued so that the moms can better master the dramatic elements through their expression of limbs and sound and voice. In addition, it is also urged to find the possibility to deepen the narrative connotations of a theatric art through the female body, voice, and life. Also recommended is the book club, in which knowledge sharing and discussion can trigger intrapersonal thinking logic and emotional experience. Through the understanding of the female role and position in terms of ethnics / gender / class / history, women may walk out of personal experience, walk into the community with self-confidence, establish deeper exchanges, explore the issues of public concern more independently, and further promote the establishment and reengineering of community groups.