How did Korean theatre groups use new drama as social and political protest before 1940?

Prior to 1940, Korean theatre groups utilized "new drama" (singgug) as a vehicle for social and political protest against the conditions of the era, particularly under Japanese colonial rule. By 1940, approximately 100 amateur groups were employing this realistic style of performance to voice their dissent.1

Key developments in this movement included:

• Theatrical Arts Research Society: Organized in 1931, this group played a central role in the movement by staging contemporary Western plays and encouraging the creation of original Korean works.21
• Experimental Theatre: Through experimental productions, these groups sought to move beyond traditional forms, using the stage to address the realities of contemporary life.21
• Original Works: Playwrights like Yu Ch’ijin contributed significant works, such as T’omak (1933; "Clay Hut"), which reflected the social concerns of the time.2

While these groups faced significant limitations—including a lack of government support, a scarcity of professional playwrights, and the eventual suppression of organizations like the Theatrical Arts Research Society by the Japanese colonial government in 1939—the "new drama" movement remained a vital, albeit constrained, outlet for expression until the early 1940s, when the Japanese authorities suppressed all writings in Korean.21