As the drum sounds, Mong-ryong flashes a confident smile, but his servant Bang-ja remains silent, staring at the floor, visibly trembling. The murmurs from the audience grow louder. Then, with the third beat of the drum, Bang-ja’s expression shifts, and Mong-ryong, transfixed, tilts his head back. In seconds, the actors fully embody their characters, captivating the audience. This scene from Jeongnyeon: The Star Is Born has become a fan favorite.
The cast, including lead actress Kim Tae-ri, trained intensively for three years with Hong Seong-deok, director of the Korea Association of Women’s Traditional Musical, to master the essence of Yeoseong Gukgeuk, or Women’s Traditional Musical. In this genre, only actors who excel in appearance, singing, dancing, and acting are allowed on stage—a high standard that is evident in the drama’s performances. Their dedication has paid off, with Jeongnyeon reaching No. 6 on Disney+’s global TV show rankings on Nov. 5. According to FlixPatrol, the series has topped the charts in South Korea, Taiwan, Singapore, and Hong Kong, highlighting the global appeal of K-drama and Jeongnyeon’s steady climb since it entered the top 10 on Oct. 31.
The success of Jeongnyeon has reignited interest in Yeoseong Gukgeuk, a genre that once drew audiences with its elaborate costumes, emotive singing, and fusion of Korean narrative and folklore, peaking in popularity in the 1950s and ‘60s. Unlike pansori, which features traditional Korean vocal stylings, Yeoseong Gukgeuk blends spoken and sung dialogue in a theatrical voice aligned with the storyline, making it more accessible. Defined by its all-female cast, this distinctive genre offered a rare space for female expression within Korea’s theatrical landscape.
Driven by Jeongnyeon’s success, there is now a push to revive Yeoseong Gukgeuk. On Nov. 14, the Korea Heritage Agency announced a December performance titled Women Who Became Legends at Seoul’s Folk Theater Pung-nyu. The event will feature renowned veterans such as Hong Seong-deok, Lee Ok-cheon, and Heo Suk-ja. Divided into two parts, the program includes a conversation-led concert hosted by Kim Hye-jeong, president of the Pansori Society, followed by a staging of Princess Seonhwa, a 1950s classic centered on the romance between Princess Seonhwa of Silla and Seo-dong of Baekje. Kim Geum-mi and Park Ji-hyun will star, with veterans Lee Mi-ja and Nam Deok-bong in supporting roles.
At a media briefing at Korea House in Seoul, Hong Seong-deok reflected on her 74-year dedication to this unique art form. Born in 1944, she began performing on stage at age 6 with her parents in the Seonil Changgeuk Troupe. “I remember playing the youngest son in Heungbu and Nolbu,” she recalled. “I sang so well back then.” She recounted how Yeoseong Gukgeuk began to decline: “Television brought theater into homes, films drew audiences away, and Yeoseong Gukgeuk was costly, requiring elaborate sets, costumes, lighting, and stage machinery.”
The veterans, often called the “second generation” of Yeoseong Gukgeuk performers, hope the genre’s renewed popularity will lead to a full revival. They also seek national support to preserve this tradition, envisioning a future where Yeoseong Gukgeuk can stand alongside Japan’s Takarazuka Revue and China’s Yue opera.
Pansori is a solo musical performance in which a single vocalist sings while accompanied by a drummer’s rhythms. In contrast, Changgeuk involves multiple singers who share roles and incorporates elements of theater such as dialogue, acting, and stage props, making it more theatrical. Changgeuk is often compared to Western opera, Chinese Peking opera, and Japanese kabuki as a form of dramatic music.
The rise and fall of Yeoseong Gukgeuk
Yeoseong Gukgeuk first captivated Korean audiences in the post-Korean War 1950s and ‘60s. While changgeuk, often compared to Western opera, follows traditional musical structures, Yeoseong Gukgeuk is closer to Western musical theater, allowing for greater vocal freedom and expressiveness. What set it apart was its all-female cast, a distinct characteristic in a theater scene where changgeuk troupes included both male and female actors. Between 1948 and 1969, over 25 Yeoseong Gukgeuk troupes flourished, producing female stars. One of the most beloved was Lee Ok-cheon, famous for her male roles and so adored that fans once staged a “fake marriage” with her. “I was almost kidnapped by a fan after one show,” she laughed, recounting how she had to talk her way back to the stage.
However, the 1960s brought unforeseen challenges. Television and film began to capture popular attention, sidelining Yeoseong Gukgeuk, and in a male-dominated cultural landscape, it faced stereotypes as “cheap” or “vulgar.” Limited funding and support marginalized it further, making it hard for performers to balance their roles with family life, while a lack of structured training programs deterred new talent from entering the field.
A resilient passion for revival
For Hong and her colleagues, however, the passion for Yeoseong Gukgeuk never waned. “I felt compelled to keep it alive,” Hong shared. “I sought out former actors who had left for family life and convinced them to return.” By the 1980s, Hong had assembled a new troupe, putting on around 30 shows annually ever since. “It was emotionally draining, and I shed many tears,” Hong admitted, “but I believed our actors deserved a meaningful stage.” Lee Ok-cheon was one of those Hong persuaded to return. “In 1993, we brought Chunhyangjeon to the stage with Kim Kyung-soo, and it was a hit, reigniting a loyal fan base.”
The struggle for institutional support
Experts attribute Yeoseong Gukgeuk’s stagnation to a lack of funding. Kim Mun-seong pointed out that since the National Gugak Center withdrew support in the 1950s, Yeoseong Gukgeuk has lacked government backing. “Self-funding prevented the genre from reaching its full potential,” Kim explained. Japan’s Takarazuka Revue and China’s Yue opera, by contrast, have institutional support. Takarazuka, established in 1913, even has a music school to train its performers, while Yue opera gained UNESCO recognition in 2009.
The absence of structured support has also hindered efforts to train new talent. “Yeoseong Gukgeuk once had a structured audition system, recruiting actors specifically for singing, dancing, and acting roles,” Kim noted. “Without formal backing, that system has eroded, and Pansori performers with potential are trained as general entertainers instead.”
Under Hong’s leadership, however, Yeoseong Gukgeuk found some success internationally. The Korea Association of Women’s Traditional Musical premiered Yein Hwang Jini in April 1996. The production sold out the 3,000-seat Sydney Opera House, and in 1997 it received a standing ovation from 2,700 spectators at the Alte Oper in Frankfurt, Germany. In 2000, it was performed in Oslo in celebration of former President Kim Dae-jung’s Nobel Peace Prize win.
The fight for heritage status
Despite its success, Yeoseong Gukgeuk remains without heritage designation or consistent public funding. A 2018 bid for heritage status was denied, reportedly because it was deemed “modern” rather than “traditional.” “Yeoseong Gukgeuk actually goes back to the 1930s,” said Kim. “In 1931, female pansori masters toured the country to perform theatrical acts challenging male-dominated authority, but these records are nearly lost to history.” He added, “While changgeuk has the National Changgeuk Company, Yeoseong Gukgeuk, with its rich tradition and potential, deserves similar institutional support. With proper backing, it could be developed into a legacy industry, generating diverse cultural content.”
Hong, resolute in her commitment, plans to reapply for heritage status. “I want this art form protected before I close my eyes,” she said, reaffirming her lifelong dedication to a stage she has cherished since childhood.
