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This article introduces and analyzes Oh Tae-seok's drama <Gahyodang(佳孝堂)>. <Gahyodang(佳孝堂)> is a play by Oh Tae-seok, which was published in 1977 in Yonsei University Newspaper 『Yonsei-chunchu』. In this article, we introduced and analyzed drama that was never performed. This drama can confirm the dramatic method of composing narrative and language of history text called 『Hanjungrok(閑中錄)』 as the theater language. Fundamentally, play is a text associated with the performance. However, in this paper, we have described the dramatic method of Oh Tae-seok through the aesthetic symbols of this play. Especially since I experienced directing in the small theater space of the 1970s warehouse, I interpreted the drama with the theater space familiar to the playwright in mind. As a dramatist, he experienced directing in a small theater space of a warehouse in the 1970s, so he interpreted the plays with the theater space in mind. This play, lacking continuity of the scene, was influenced by the theater environment which was utilized as various experiment space without being restricted by the stage limit. For that reason, it is possible to interpret the space of the palace called ‘Gahyodang(佳孝堂)’ as Hong's psychological space. Above all, a mental attitude representing the 1970s period was reflected in scene arrangement and historical space. The mental attitude is the anxiety, fear, emotion, and thought of the era when the playwright recognized it. In this context, I tried to understand and analyze the drama <Gahyodang(佳孝堂)> in the 1970s. The fact that the plaintiff was published in 1977 as a university newspaper is a basis for the researcher to interpret the drama in a stereoscopic way with the possibility of stage production based on the audience and sympathy. The form of the play is based on the form of experience. Therefore, I read two realities in Oh Tae-seok's play. First, the social image of the 1970s, when the drama was announced, was expressed in the form of a play and the reality of the theater stage reflected in this play. On the basis of this, in this study, I interpreted the meaning of the form of the stage direction which the form of the dramatical expression of this play and the form of the drama implied. The dramatic image of this play reflected the emotions and feelings of Hong who survived her husband's death. The ritual image of this play reflected the emotions and feelings of Hye Kyung, who survived her husband's death. Therefore, the structure and form of this play, composed of the words and actions of Hong who survived, represents the sense of guilt. The guilty conscience constituted the structure of drama as a ritual play that comforts the death of her husband. Therefore, the reader can understand this drama with the dramatic rhythm and sense of the sea, expressing the despair and anger of the dead husband in the structure of the drama in which Hong performs the shaman proposal. In this paper, I would like to introduce the characteristics of the play listed above as a dramatic method of <Gahyodang(佳孝堂)>. The reason was based on the time and society in which this play was published, and the theater space familiar to the media, the dramatist, and the audience.

1970's, drama <Gahyodang(佳孝堂)>, gut(perform an exorcism), 『Hanjungrok(閑中錄)』, Oh Tae-seok, ritual theatre, 『Yeonsei-chunchu』