This paper is a study of Hangug Yeongeug in the 1980s. This magazine is a monthly theater journal that produced theater record. This journal contains various types of theatrical texts in addition to data. For example, texts of heterogeneous nature such as dramas, scripts, dramatic criticism, the process of changing dramas, theatrical history data, creative notes of dramatists and directors, overseas theater trends, overseas theater aesthetics, theater interviews, It was recorded. Hangug Yeongeug changed into a theater journal as a periodical rather than an art magazine.
In this paper, the Hangug Yeongeug was described in the previous academic theater magazines and other journals form the 1980s. First, it is the basic feature of this theater journal that various surveys and reports are included. The reason for this is that the journals were constructed using active coverage and research methods in various fields. As a result, there was an article that traces the current theater activities and the theater site and records the questionnaire. The contents were about the specific theatrical environment such as the process of amendment of the performance law in the 1980s, the theater environment and consciousness survey, and the audience consciousness survey. The produced theatrical texts had many report formats such as statistical data, objective and systematic documents and reports.
This change occurred because the way the theater arts magazine was constructed changed. Not a particular class or expert group participated in the editing and writing of journals, but in the way that professional reporters and editorial staff acted. The way the theater criticism was published also changed. In the 1980s Hangug Yeongeug, theatrical criticism in the form of dialogue appeared frequently. The representative form was conversation or discussion.
Hangug Yeongeug was a medium that recorded and preserved information about drama people and theater activities. And it was a special archive in the 1980s theater reality. The first archives feature is a collection of theater associations' information, periodical information on the personal information, group information, and performance repertoire of each private theater in the 1980s. This record was recorded as 'Annual'. Second, various theatrical festivals, events, and various appearances of theater space were recorded. Third, it was the time when censorship institutions existed, and they received financial support and sponsorship from the government as a bronze institution. For this reason, various theatrical discourses and theatrical texts could be produced. Paradoxically, field reports produced with the support of dictatorial governments could be produced in a variety of theatrical texts, unlike other theater magazines. Based on the above data, Hangug Yeongeug can be re-understood as a drama archive in the 1980s. However, political and cultural correlation should be fully considered.