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This study aims to consider the meaning of children's theatre of Park Se Young during the formative period of modern children's plays, through the features of form and substance of <Sobyeongjung>, <Honggaemi>, <Eorinsojebu>, <Wonsungi>, <Urideuluigippunnal> of Pakr Se Young who is known as a poet of KAPF. Especially, this thesis considers the meaning and performance of children's play of Park Se Young based on the intimate relations between children's theatre of 『Byeolnara』 and KAPF. 『Byeolnara』 Which many writers of KAPF participated in aimed that association of boys and girls in rural areas and factories assembled, ensured class consciousness and forced to take actions. This aim was the same direction of KAPF, Park Se Young as a editor of 『Byeolnara』 selected children's theatre as a part of organized activities of KAPF and building class beliefs. His works can be divided into two categories : fairy tale drama, which aims to reflect on the reality, and children's song drama, which uses the song for communion with audiences. That is, he created Sprechchor <Urideuluigippunnal> as political mission of KAPF and artistic practice form. But he did not create the work of children's theatre, after performing Sprechchor <Urideuluigippunnal>. Due to this performance, he experienced the censorship of Japanese Empire and internal accusations of KAPF and was not able to reveal the harsh social reality. 『Byeolnara』 focused on the reason for children's subjective perception. At last, a place of Park Se Young was lost because of change the direction of children's theatre of KAPF and limit of matter.

Park Se Young, Children's theatre, KAPF, Byeolnara, Children's theatre of fairy tale, Sprechchor