The Takarazuka Revue(宝塚歌劇団) performed 《Momotarōki 桃太郎記》 based on the story of Momotarō in 1953. The Takarazuka Revue, which performed the task of inciting national policy through the method of propaganda drama, justified and validated the war of imperialist aggression through the narrative of Momotarō in numerous agitative works, including 《The Triumph of Momotarō》(1942). Nevertheless, Momotarō, which was reproduced by the postwar Takarazuka Revue Theater, abandons its imperialist ideology and proceeds to a new strategy of detouring to capitalism. Accordingly, the new Momotarō depicted in 《Momotarōki》, is quite different from the image of a war-hero in the previous period. Postwar Momotarō is reborn and transformed to a new image in which the war time memories have been extinguished. Produced as a new Japanese series(新日本物), various dramatic devices are arranged to erase the memory of imperialism. In this article, I would like to examine the reconstruction method of new Japanese series by focusing on the strategy of their representation. In this paper, I tried to clarify the point in which the eradication of the memory of the imperialist war attempted through the reconstruction of the New Japanese series in 《Momotarōki》 leads to the distorted victim consciousness in the regeneration and restoration of post-war Japan. In addition, I tried to discuss this issue in the field of post-colonial memory studies of the present day.