Why did Joseon-era masked plays often criticize Buddhist monks and government officials?

During the Joseon dynasty (1392–1910), masked plays—often termed sandae—became a primary vehicle for social commentary. The satire of depraved Buddhist monks and grasping government officials served as a popular form of expression that resonated with common audiences.1

The prevalence of these themes was driven by several factors:

• Popular Appeal: As court support for traditional performances declined following major invasions, professional troupes adapted their repertoires to suit the tastes of the general public. Satirizing the powerful and the corrupt became a favorite theme for these audiences.1
• Social Criticism: These plays provided a platform to expose the corruption of the gentry and officials, as well as the perceived moral failings of Buddhist clergy. This use of satire to critique contemporary society was a consistent feature across various folk drama forms, including puppet plays and narrative performances.12
• Secularization: While some masked dances originated as religious or exorcism rites, professional troupes increasingly secularized these performances, shifting their focus from ritual function to social critique.3

While these performances were occasionally staged at court, the satire was not always welcomed by the ruling elite; for example, an actor was banished in 1504 for ridiculing the institution of kingship.1