The word "tal" comes from the Chinese character meaning "to rid or free oneself of something," while "nori" means "play" and "chum" means "dance" This form of theater, characterized by masks, is a play or dance that frees one from stress or grief. Tal-nori performances satirized the tensions between upper and lower classes in Korea by portraying exaggerated, unflattering caricatures of aristocrats, monks and commoners. Tal-nori was generally performed for commoners on a hill at night and by firelight with vibrant masks and accompanied by four musicians playing gongs and drums. Performances were episodic, with no defined structure, and could potentially last late into the night, with audiences jeering and calling out to the performers.
Pansori, or "song at a place of performance," is performed by two people: a singer and a drummer. The singer chants an epic or narrative song to the rhythm of the drum and combines singing with recitation and body movements to tell a folk tale. In addition to providing the rhythmic base to the performance, the drummer calls out encouragements to the singer and excites the audience to keep the performance engaging.
In the first decade of the 20th century, Western drama, especially Shakespeare and Chekhov, became increasingly popular in Korea, brought over from Japan just prior to their colonization of Korea. In 1902, the first indoor modern theater space, called Hyopyul-sa, was built. In 1908, Won-gaksa theater opened in Seoul, and became the primary home of "new drama," the term used to describe Western drama. The Korean government funded most professional productions of Western Drama.
The South Korean government still funds Western-style productions at The National Theater and the Chongdong Theater, both in Seoul. The Daehakro, or college district, produces much of the experimental theater of South Korea. With the continued influence of the West, large scale Broadway musical productions funded by corporations are the most popular forms of theatrical entertainment in South Korea.