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The Origins of Theater: Ritual

How did “theater” begin in human history? What are its origins? The roots of theater can be traced back to “rituals” across the world. In the West, theater emerged from the rituals of the Greek temple of Dionysus; while in Asia, the origins of theater are found in ritualistic performances based on primitive beliefs. Asian theater has unique characteristics that distinguish it from Western forms, including Korean, Indian, Indonesian, and Thai “mask plays”; Korean, Japanese, and Chinese “puppet theater”; “shadow puppetry” in Indonesia and Southeast Asia; and “musical theater” in Japan, China, India, and Indonesia. While Western theater evolved into distinct genres such as comedy and tragedy, Eastern theater has maintained diverse forms that continue to coexist today.

The origins of Korean theater can also be traced back to ancient rituals, where primitive forms of theater can be observed. For example, early theatrical elements can be found in rituals such as Buyeo’s Yeonggo and Goguryeo’s Dongmaeng. During the Three Kingdoms period, performances evolved into “Goguryeoak” in Goguryeo, “Gagak” in Baekje, and “Sillaak” in Silla. As time progressed, these performances transformed through the “Sandaejapgeuk” and “Nahui” of the Goryeo period, and the “Pansori” and “Folk Plays” of the Joseon period, eventually leading to the emergence of modern theater during the Enlightenment period.

Korea’s First Indoor Theater, “Hyopyulsa,” and the First Modern Theater, “Wongaksa”

In 1902, Korea’s first indoor permanent theater and royal theater, “Hyopyulsa,” was established. It was an indoor theater modeled after ancient Roman amphitheaters, built to commemorate the 40th anniversary of Emperor Gojong’s reign. After Hyopyulsa was closed in 1907, the theater building was taken over by the Gwaninbureokbu. In 1908, when Gwaninbureokbu relocated to the Namdaemun area, Lee In-jik and Kim Sang-cheon leased the building and established Wongaksa.

With the establishment of such theaters, the “Korean Traditional Circus” performances that were once held in open spaces gradually transformed into the form of “theater” within indoor spaces. This shift also marked the transition from Pansori Chang to Changgeuk, evolving from a song-centered culture to a theater culture centered around performers. The one-person performance style of “Pansori” struggled to meet the demands of the public, leading Pansori masters to explore new forms. This exploration resulted in “Daehwachang,” an intermediary stage, which eventually developed into “Changgeuk.”

“Changgeuk” is a traditional Korean musical drama based on Chang. It originated from Pansori, where a solo performer, known as a Sori Gwangdae, would sing to the rhythm of a drum played by a Gosu. In Changgeuk, the singing parts are divided among multiple performers according to their roles, and the performances are enhanced with stage backgrounds, costumes, and acting. The five traditional Pansori repertoires, “Chunhyangga,” “Simcheongga,” “Sugungga,” and “Heungboga,” were mainly performed. Over time, Changgeuk incorporated more realistic acting, props, and improved stage settings, but audiences began to feel that it was becoming too conventional and craved new content. In response, Wongaksa staged the “Sinyeongeuk Eunsegye,” which reflected contemporary social realities, and declared itself a “New Type of Theater,” thus becoming Korea’s first modern theater.

Korea’s first Sinyeongeuk (new theatre) “Eunsegye (Silvery World)”

On November 15, 1908, Korea’s first Sinyeongeuk “Eunsegye,” was performed at Wongaksa. Before its performance, contemporary articles reveal that Wongaksa was training singers using Lee In-jik's novel “Eunsegye” to debut a new form of theater. Additionally, the cover of the Sin-so-seol (New Novel) “Eunsegye” shows that the title's characters—Eun (銀), Se (世), and Gye (界)—are composed of smaller characters meaning Sin (新, new), Yeon (演, performance), and Geuk (劇, drama). This suggests that the novel “Eunsegye” served as the script for the new theater production.

Sinyeongeuk “Eunsegye” is noteworthy because it dealt with realistic, fact-based stories, such as the tale of Choi Byung-do, which depicted the oppression of corrupt officials and the suffering of innocent people. Formally, it was performed as a Changgeuk in the Pansori Bunchang style, a modified version of traditional theater. What makes Sinyeongeuk “Eunsegye” particularly significant in the history of modern Korean theater is its recognition of the existence of a script based on real events. The presence of a script was what distinguished “Eunsegye” from previous “Yeonhui (traditional performances)” and allowed it to become a “Sinyeongeuk.” This marked the beginning of modern-style theater in Korea.

“Eunsegye,” and What Came After

After “Eunsegye,” the “Sinpageuk (soap opera)” became popular from the early 1910s to the late 1940s. Influenced by Japan, early Sinpageuk often imitated exaggerated expressions, directing styles, and stage formats inherited from Kabuki. Initially promoting public enlightenment, these plays began as “political purpose plays” and “current affairs entertainment plays” but gradually settled into the form of typical melodramas known as “domestic tragedies (家庭悲劇).”

In the 1920s, the “New Theater Movement” emerged intending to criticize the old-fashioned Sinpageuk and create a new form of modern theater. This movement was influenced by Japanese Shinpa theater, which, after the Meiji Restoration, was itself influenced by Western modern theater, advocating for the modernization and Westernization of theater. The Sinpageuk movement promoted the modernization of consciousness, social reform, the awakening of the self, and the pursuit of realism on stage. It also led to the expansion of the role of “direction” in theater, elevating the director to a crucial position as a creator responsible for producing representational art.

Since then, and into the modern era, various theater companies have undertaken a wide range of experiments and approaches. There has been a continuous exploration of tradition alongside ongoing new experiments in the realm of theater.