Abstract

Among the many theatre groups that left a significant mark on Korea’s liberation-era theatre movement, the ‘Women’s Little Theatre’ (Yeoin Sogeukjang) stands out. This women’s theatre group, composed entirely of Ewha Women’s University graduates, staged seven translated plays between 1948 and 1950. In particular, Park Noh-kyung, who founded and led the group, is known as Korea’s "first female director." However, little is known about her life and artistic contributions. This study traces her career before and after liberation. Additionally, it examines the experimental vision and ultimate downfall of the ‘Women’s Little Theatre’ during this transformative period. The group’s all-female experiment was considered fresh and ambitious, yet it was frequently dismissed as amateurish or dilettantish. To counter these criticisms, the group made a significant compromise with its third production, Lillian Hellman’s anti-fascist play Watch on the Rhine (1949), by incorporating male actors for the first time. Nevertheless, fundamental limitations—such as its reliance on translated works and its focus on intellectual audiences—ultimately hindered its longevity. Their legacy calls for a renewed examination of the lives and artistry of women artists from this period.