A theater recently opened in the Myeong-dong district of Seoul, on a property which has been known for being the highest priced real estate site in Korea. This performing arts venue is the latest successor of the Meiji Theater, originally a cinema center completed in 1934, at the height of the Japanese colonial era. Of note, the new facility maintains a Baroque-style exterior similar to the original building. The Meiji Theater was developed by Ishibashi Ryosuke, a Japanese national who operated an architectural firm. In 1939, Ishibashi also acquired Danseongsa, and renamed it Daeryuk Theater, which was operated as a cinema house. Throughout Gyeongseong (today’s Seoul) he was known as a pioneer of Korean theater.

Theater Restoration Campaign
During the Joseon era, Myeong-dong was known as Myeongnyebang (literally, a place to welcome Ming envoys). The fact that Jangagwon (Royal Music Institute) was located nearby has led people to associate Myeong-dong with the arts. During the Japanese colonial period, the name of the area was changed to Meijicho, and the theater was named Meiji Theater. The area gradually developed into a modern commercial district centered around the Japanese Legation, where the Shinsegae Department Store now stands. The area’s affluence and vibrancy also served to attract artistic and cultural figures. Although Myeong-dong is now occupied by diverse retail businesses, it remains one of the most popular destinations in Seoul for Japanese tourists.
After liberation from Japanese colonial rule in 1945, the Meiji Theater building was used as the Civic Auditorium by the Seoul Metropolitan Government until 1961. It also served as the home of the National Theater of Korea from 1957 to 1973, that is the building served in these capacities from 1957 to1961, when the Citizens Hall was completed.
As a result of a general repair carried out in 1962, the number of seats of the National Theater of Korea was decreased from 1,178 to 820, which was further decreased to 552 seats since it was reborn as a medium-sized theater as a result of the latest restoration effort.
Following the construction of the new National Theater of Korea building in Jangchung-dong in 1973, the Ministry of Culture and Information rented the former Meiji Theater building from the Ministry of Government Administration. It was thereafter used as a rental venue and operated as the Myeong-dong Art Theater. However, the building was sold to the Daehan Investment & Finance and Daehan Investment Trust Co. Ltd. in 1976, and its subsequent transformation into office space effectively ended its long association with theater.
The revelation in November 1994 of the Daehan Merchant Banking Corporation’s plans to convert the building into a 10-story company building spurred the theatrical sector to launch the “Theater Restoration Campaign.” The Daehan Merchant Banking Corporation’s declaration of bankruptcy provided an opportunity to purchase the site, which the government finally did in December 2003. The purchase of this building was made possible in large part by the Myeong-dong Merchants Association’s efforts to prevent the sale of the building at public auction. After a five-year construction period, the building was finally reborn as the Myeong-dong Art Theater in May 2009.
The building has had its fair share of firsts, including the first opera, the first orchestral performance, and the first theatrical performance staged by the National Drama Company of Korea following the merger of the two theater companies known as Sinhyeop and Mingeuk. In 1962, the Korea National Opera, National Gukgeuk Company (presently known as the National Changgeuk Company of Korea), and the National Dance Company of Korea all produced some of their greatest works in this building. In addition, popular singers such as Hyeon In and Yoon Bok-hee also graced its stage. Furthermore, the Myeong-dong Art Theater also supported the activities of the Dongin theater companies formed by the college drama societies that represented the backbone of the Korean theater circle from the 1960s onward. The author Lee Bong-gu, who flippantly referred to himself as the count of Myeong-dong, once said that the Myeong-dong Art Center encompassed the entire range of Korean arts.
Although the Myeong-dong Art Theater was a hub for Korean arts, especially the performing arts, theater was the main focus. In this regard, we should look into the historical background of the Myeong-dong Art Theater from the standpoint of the performances carried out by theater companies such as the National Drama Company.
Origins of the National Theater
In the aftermath of Korea’s liberation from colonial rule on August 15, 1945, the Korean theatrical sector found itself divided among left and right in much the same manner as much of society did. The establishment of the Republic of Korea in 1948, as well as the mass exodus of socialist actors to North Korea or underground that took place during the intervening period, effectively brought an end to the chaos that had long engulfed the Korean theatrical world.
In December 1948, the Ministry of Education assumed responsibility for the granting of permits to stage performances from the Information Bureau and the Act on the Establishment of the National Theater was promulgated. In October 1949, a steering committee for the National Theater was organized, and the first president of the National Theater was appointed. The 1,997-seat Bumingwan, located on Taepyeong-ro Street, in downtown Seoul (which presently serves as the Seoul Metropolitan Council) was selected as the building which would house the National Theater. The official ceremony marking the opening of the National Theater was held there in 1950, and various performances such as Wonsullang, a creative drama, Malli jangseong, a traditional Korean opera (changgeuk), Chunhyangjeon, a creative opera, and Noeu, a translated drama, were staged there thereafter.
However, the outbreak of the Korean War in 1950 forced the National Theater to relocate to Busan. In October 1951, the president of the National Theater suggested that it be reopened in Busan, but his suggestion was denied and he was subsequently forced to resign. In May 1952, the government decided that until the return to Seoul became possible, Daegu would serve as the home for the National Theater. The National Theater assumed control of the building occupied by the Daegu Cultural Theater and began to stage performances in its temporary abode shortly thereafter.
In June 1957, the National Theater returned to Seoul, where it shared what is now the Myeong-dong Art Theater building with the Seoul Metropolitan Government. The National Drama Company was established that same year. However, as a result of the growing conflicts between traditional and progressive segments in the theatrical sector, the National Drama Company was dissolved and replaced by two theater companies called Sinhyeop and Mingeuk in May 1959.
Although this created an abnormal situation that can be likened to two families living under the same roof, the performances the groups staged were well received by audiences. Much of this groundswell in interest was due to the fact that a great portion of the public was already familiar with some of these actors and actresses through their roles on the big screen. Although one should not go as far as to say that progressive segments ruled the roost, many of the works staged during this period were somewhat lacking from an artistic standpoint. Examples include Wilhelm Tell and Crime and Punishment.
The April 19 Student Revolution of 1960 saw the revolutionary winds which swept the long-standing regime of President Syngman Rhee from power blow through the National Theater. Suddenly, the steering committee, which had close ties with the government, found itself the subject of increased criticism. Calls began to be made for the implementation of an arm’s length principle under which the government was to support but not interfere in creative activities. A strong case also began to be made for the National Theater to distance and distinguish itself from profit-oriented commercial theaters. The May 16 Military Revolution of 1961 occurred at a time when these calls had yet to be reflected in the national policy or budget.
The first Minister of Culture and Information under the military government was an individual who had served as the director of the Information Agency during the Liberal Party regime. Having once managed a small theater (Wongaksa) on Eulji-ro Street for about two years, this person had a profound interest in promoting the arts. One of his first acts was to place the National Theater under the control of the Ministry of Culture and Information in October 1961.
The establishment of the Citizens Hall on November 7, 1961 meant that the National Theater was finally able to call the building in which it performed its own. With this change providing the impetus, a massive remodeling of the old and outdated building to which no repairs had been made in the last 15 years was launched. What emerged following the general repair of the seats, stage, cooling and heating systems, bathrooms, and lobby was a clean, pleasant, and warm structure that came to be known as the Myeong-dong National Theater. As part of this new emphasis on the arts, the National Drama Company was reorganized, and the Korea National Opera, National Gukgeuk Company (presently National Changgeuk Company of Korea), and the National Dance Company of Korea were set up.

Reopening as Myeong-dong National Theater in the 1960s
An arts festival was held to celebrate the reopening of the Myeong-dong National Theater from March 22 to the end of April 1962. Various performances, such as Dae Chunhyangjeon (Korean opera), Wangja Hodong (creative opera), and Jeolmeumui Changa (drama) were staged as part of this event. However, despite the participation of the four aforementioned national-level arts organizations and the KBS Symphony Orchestra and KBS Choir, only about 13,000 people attended this arts festival. Adding insult to injury, the number of paying customers amounted to approximately 100 people per performance. As its entire budget had been used up, the Myeong-dong National Theater was forced to start renting out its facilities.
The Myeong-dong National Theater’s administrative difficulties were further compounded by the fact that in the first two years of its reopening, no less than five directors came and went. The theater’s fortunes began to change when six drama companies came together from April 22, 1964 to celebrate the 400th anniversary of Shakespeare’s birth. Each company performed over the next month some of the bard’s most representative works, a process that began with the National Drama Company’s rendition of The Merchant of Venice. This festival drew the largest audiences of the post- Korean War era, attracting a grand total of 37,000 people. Unfortunately, this proved to be little more than a temporary blip on the radar.
In 1966, the budget granted to the Myeong-dong National Theater was only half of what had been requested for that particular year. Moreover, despite ardent resistance on the part of those involved in the culture and arts sectors, the National Theater of Korea was also denied any part of the supplementary budget allotted that year. Moreover, the number of days on which performances could be staged within the building was decreased from 80 to 30 a year. As a result, the National Theater of Korea had little choice but to depend on venue rental fees for its survival.
Ironically, Korean theater’s survival was ensured by the rise of the so-called Dongin drama companies revolving around the members of college drama societies who breathed new life into the theater sector during the 1960s and their staging of performances at the Myeong-dong Art Theater. In this regard, the staging of Still the Curtain Will be Raised to celebrate the 60th anniversary of singeuk (“new theater”) in March 1968 can be regarded as being symbolic of the unyielding spirit that continued to animate Korean theater despite the fact that it was on the verge of collapse. The following is an excerpt taken from a newspaper article which succinctly captures the mood at the time:

“The Myeong-dong National Theater, which is the only center for the performing arts in Korea, is in such a sorry state that it has to close down for two months every year...The Myeong-dong National Theater, whose operation is made possible by the portion of the national budget set aside to foster performing arts and develop the arts on a national scale can be regarded as having been treated with relative indifference when compared with other organizations. It does not have any cooling or heating facilities, or even an emergency generator. During a recent performance of The Merry Wives of Windsor by the Gwangjang Drama Company, the actors were forced to ply their trade by candlelight after the building suffered a power outage. The building was once again struck by a power outage during a performance of the opera Chunhyangjeon attended by some foreign guests; only this time, the audience had to wait for 50 minutes before the performance started again.” (The Dong-A Ilbo, December 20, 1966).

The next series of changes to affect the Korean theater industry was in many ways set in motion by a visit which the Director of the Korean Central Intelligence Agency paid to North Korea. Shocked to discover that North Korea boasted large-scale cultural venues such as the Mansudae Art Theater in Pyeongyang, the government decided to forge ahead with the construction of its own large-scale theater. The government hastily decided to establish the National Culture Center in Jangchung-dong, Seoul, a complex which included a building for the National Theater of Korea. The groundbreaking ceremony was carried out on October 12, 1967.
The government tried to finance the cost of building the National Cultural Center by selling off the Myeong-dong National Theater. The theatrical sector was confused by these changes which were perceived as being motivated by political calculations rather than cultural ones.
The plan called for the construction of three floors above ground, a basement, 1,500 regular seats, and 130 loges, fitted with its own bathroom and service room. The 400-pyeong (1,330m²) stage would be equipped with mechanisms that would make it possible to rotate, ascend, and move from side to side, and an orchestra pit capable of holding 100 performers, as well as TV broadcasting facilities. Doubts began to be voiced whether the plan actually reflected the actual state of Korea’s theater industry.
Four open tender processes were conducted in conjunction with the sale of the Myeong-dong National Theater. Having failed to receive what it considered to be an adequate offer for the building, in 1970 the government opted instead to carry out partial repairs and change the name of the venue to the Myeong-dong Art Theater. Meanwhile, the National Theater of Korea completed its move into its new location in Jangchung-dong on August 26, 1973. Responsibility for the Myeong-dong Art Theater, which shut its doors in 1975, was returned to the Ministry of Government Administration, and the building was finally sold in November 1976.

Production Theater
The opening of a newly renovated Myeong-dong Art Theater has been hailed by Korea’s performing arts community, and especially those who endured the building’s difficult times, as a return to the roots of Korean theater. This is welcome news to the veteran theater professionals and audiences, which include those in their seventies and eighties today, as well as Korea’s entire culture and arts sector.
The restoration project, which included numerous tasks, such as removing several layers of paint on the building’s exterior, was designed to retain the original character of the theater’s exterior, while transforming its interior into a modern performance venue. As such, conscious efforts were undertaken to preserve the historical aura of the building, along with enhancing its functionality as a modernized performance hall. With a total of five floors and a basement level, the Myeong-dong Art Theater has been reborn as a first-class performance center with a 552-seat capacity.
The venue features a 12-meter-wide, 7-meter-deep Proscenium stage that faces a horseshoe-shaped seating arrangement. A spokesperson of the Myeong-dong Art Theater proudly stated that the maximum distance between the stage and the audience measured 13.5 meters on the first floor, and 16 meters on the second floor. As for the interiors of performing arts venues, a distance of up to 20 meters is generally regarded as an optimal distance between the audience and the stage, while 15 meters is an ideal distance for the audience to readily observe and appreciate the facial expressions and gestures of the performers on stage.
To this end, the latest makeover of this theater building has been highly praised for its provision of optimal interior conditions for a performing arts hall, in an effort to maximize the interaction between the audience and the stage performers. Accordingly, by carefully arranging only 552 seats within a three-level structure, the designers sought to ensure that each member of the audience could fully appreciate the performance thanks to an exceptional sight line. Moreover, to create a sense of closeness between the performers and the audience, the rows of seats and balcony levels have been arranged in a rounded horseshoe configuration.
Equal attention has been paid to the formulation of operational plans for the Myeong-dong Art Theater. Thus far, Korea’s
public performance halls have generated revenue by renting out their venue facilities to third parties, or by promoting the presentation of various works produced at home and abroad. Even in the cases when performances were produced in-house, these initiatives often took the form of joint production projects, involving outside theater companies. In contrast to this, the Myeong-dong Art Theater intends to operate as an independent production theater that will produce the majority of its works, and not have to rely on revenue from the rental of its venue.

Innovative Approach
The new director of the Myeong-dong Art Theater, Goo Ja-heung, who previously worked as a planning manager for private theater companies and public performance organizations, stressed the fact that the emergence of a production theater that does not possess its own drama company constitutes a noteworthy turning point for Korea’s theater industry, and a new approach for the operation of a Korean public theater. In particular, this shift in the management paradigm for public theaters is expected to boost overall support for the entire theater sector, by creating a more stable environment for production activities, and helping to establish a broad foundation for the sustainable development of Korean theater.
Existing support methods have involved in large part the provision of assistance for individual drama groups, artists, and projects, along with efforts to maintain rental charges for theater venues at an affordable level. The Myeong-dong Art Theater, however, in its capacity as a production theater, will be in a position to provide the directors, scriptwriters, actors, and staff with a full range of assistance. By making available comprehensive support that includes such aspects as a performance venue, funding, manpower resources, and technology, this should offer an opportunity for the pursuit of projects which would otherwise be too costly for private groups to manage on their own. The Myeong-dong Art Theater will thus provide a much needed boost to the theater sector, along with providing audiences with a chance to enjoy a wider range of theatrical works. Goo Ja-heung also stressed the fact that the New National Theater in Tokyo, Théâtre Vidy-Lausanne in Switzerland, and Le Theater National de la Colline in France, have implemented a similar management approach.
While a series of performances to celebrate the opening of the restored building is currently underway, the activities scheduled for 2010 have attracted much attention. These plans include the launch of a creative drama development project in an effort to establish long-term programs for the cultivation of next-generation scriptwriters and to facilitate the production and performance of various dramatic works. Moreover, the staging of an “Outstanding Performances Series” will expose audiences to the key trends and issues that have served to influence Korean theater over the past year. In particular, this series will feature the invitation and staging of topical and cutting-edge works that have earned high marks from audiences and critics alike. Plans also call for the organization of a “Famous Directors, Famous Dramas” program, under which distinguished Korean and foreign directors will be invited to stage their classic dramas.
In addition, a three-year project, entitled the “Korean Modern Theater Landscape Series,” which focuses on a revival of the best-known drama works shown at this historic theater, is in the works as well. There are also plans for the development of an “Expansion of Imagination Project” that seeks to encourage up-and-coming directors and performers, who because of circumstances within the industry can easily slave away in anonymity in small theaters, to broaden their creativity and talent by providing them with an opportunity to utilize a high-quality venue such as the Myeong-dong Art Theater. Meanwhile, in order to promote Korea’s cultural diversity, continued efforts will be made to stage the theatrical works from such regions as Central and South America, the Middle East, and Africa, whose culture and people remain quite unfamiliar to the Korean public.
The works to be staged will be selected from among those produced by the Myeong-dong Art Theater that the steering committee recommends. Input from audiences as well as domestic and foreign theater specialists will also be reflected in the selection of the candidate works and programming. Those works that draw a good reaction from audiences will be included in the repertory and regularly staged. Overtime, this could result in a Korean-style repertoire system. The restoration of the Myeong-dong Art Theater, resulting from the cooperative efforts of so many concerned organizations, dedicated individuals and government, is expected to greatly contribute to the revival of the glory of Korean theater.