The purpose of this article is to re-examine Nida’s equivalence theory in three aspects of translation, behavior, and strategy, and to assess a desirable direction for Chinese-Korean translation of drama’s title cases. For the essence of translations, the fidelity to ST should be guaranteed in both formal and dynamic equivalence translations, and under this premise, formal equivalence is defined as “meaningful equivalence writing in a closed state of the TT structure,” and dynamic equivalence is defined as “functional/meaningful rewriting in an open state of the TT structure.” In particular, Berman’s view that “the formal elements involved in the production of meaning in ST should be identified and that meaning should be read” was incorporated to formal equivalence in terms of translation strategy, to explore a new approach to formal equivalence that has never been underestimated as compared to dynamic equivalence that is discussed in various ways. In other words, if translation as dynamic equivalence takes a translation strategy that is faithful to the functionalistic perspective that requires users’ responses, the translation as formal equivalence acknowledges non-separability of form/meaning. From Berman’s point of view, which focuses on the organic combination of the two, when ST’s different unfamiliarity was delivered to users, we found a translation strategy that seeks encounters with other cultures. This was applied to the translation of 123 Chinese drama’s titles, which were divided into three categories with the consideration of their translation aspect, and we found the direction of a desirable translation strategy.