ABSTRACT
This chapter examines Madanggeuk as a sociopolitical theatre and as a reapplication of Korean traditions. Madanggeuk's origin is rooted in a group of university students who protested against political oppression in the late 1960s and were most active during the 1980s. Madanggeuk emphasizes social criticism siding with the socially disadvantaged, shows a post-colonial view toward foreign countries, and holds strong beliefs in social justice and equality. Indeed, Madanggeuk opened a new chapter in sociopolitical theatre in the history of Korean theatre. Since Madanggeuk was interested in national identity, it naturally turned toward well-known traditions such as Mask-Dance theatres and Pansori. The spiritual orientation of Madanggeuk relies heavily on intangible aspects of traditional theatre. Among these, Madanggeuk is most influenced by the concepts of “people's consciousness,” “playfulness,” and “openness.” The formal structure of Madanggeuk was also heavily influenced by traditional theatrical arts. In fact, Madanggeuk is the only form of contemporary theatre based on traditional theatre practices that has been named an official genre.
