Unlike in their homeland, Korean Americans in the United States enjoyed unlimited freedom of expression.
Prominent figures like Dong Hae Soo Bu (Hong Un) and Baek Il Gyu, who were central to Shinhan Minbo, spearheaded Korean theater and playwriting activities in the community. Many small-scale plays were performed, primarily centered around Korean churches.
The two foundational elements of theater are tension and conflict, expressed through imitation and presentation. Theater can be described as an integration of these elements, as witnessed through human life.
While poetry and novels are indirect, theater is direct. Korean American leaders likely believed that no other genre was as effective as theater for instilling a sense of identity and patriotism within the Korean community.
After Japan’s annexation of Korea, anti-Japanese sentiments and a strong desire for revenge surged. However, following the March 1st Movement, these feelings evolved into reflections on their realities and inner struggles, which they explored through theatrical performances.
The Evolution of Korean American Theater
Looking at the plays by era:
- 1910s: Peninsula Hero, Fellow Countrymen
- 1920s: Victims of the Times, Fervent Blood, Hooray for Our Country, Ephemeral Life
- 1930s: The World Obsessed with Money, The Thirteen Houses, Thirty Years in a Foreign Land
- 1940s (up to liberation): The Rose of Sharon, The Korean Youth Guerrilla Theater’s Tragic Play
The plays of the 1910s depicted disciplining Japan through perfect victories, reflecting the impact of Japan’s annexation of Korea. The 1920s featured retrospection on the March 1st Movement and the poverty under colonial rule. Plays from the 1930s focused on love for their homeland and the hardships of immigrant life, while the 1940s reflected a shift toward a combative tone, mirroring the rapidly changing geopolitical climate.
Some plays, such as Peninsula Hero and Fellow Countrymen, were labeled as “New Plays” and “New Stages,” indicating that these works were indeed performed for Korean American audiences.
Korean Theater Performances in San Francisco
- December 24, 1913: The Shinhan Minbo reported on a “Christmas Celebration” held at a Korean church. The event included an entertaining play, New Stage, featuring themes such as repentance, salvation, and missionary work.
- February 28, 1914: At the inauguration ceremony of the General Assembly for North America, a play titled New Stage: Taegukgi was performed. The play reportedly amused attendees and concluded with refreshments before dispersing at midnight.
- September 10, 1914: The Shinhan Minbo emphasized the necessity of theater for inspiring morality and stimulating the mind, describing it as an integral part of general education.
In later years, notable performances included:
- 1929: A Korean opera Life Like Morning Dews performed by a team of young actors in San Francisco.
- 1943: A musical festival at the Korean Methodist Church in San Francisco featuring solos and choir performances.
Peter Hyun’s Contributions to Theater
Peter Hyun arrived in the U.S. in 1924 at the age of 17. After completing high school in Hawaii, he studied philosophy and theater arts at DePauw University in Indiana. Despite facing racial discrimination, Hyun became an accomplished director and actor, working on productions such as Ibsen’s When We Dead Awaken and Shaw’s Great Catherine.
While racial prejudice hindered some of his work, Hyun persisted, starring in the film Cane Fire and directing plays like Ferdinand the Bull. As one of the few minorities in American theater during the 1930s and 1940s, Hyun raised awareness of Asian and Korean talents in mainstream society.
He also authored two books, Mansei and In the New World, which depicted the struggles of early Korean immigrants.
Korean Americans in Film
Southern California’s Hollywood, the birthplace of the film industry, saw the emergence of Philip Ahn, the son of Dosan Ahn Chang-ho.
Philip Ahn entered Hollywood in 1936 and became a prominent Korean actor, despite initially struggling with menial jobs to support his family. His breakthrough came when director Lewis Milestone cast him in Anything Goes. Over his 40-year career, Ahn appeared in over 300 films and TV shows, becoming a representative figure for Asian actors in Hollywood.
Ahn’s roles included portraying a Shaolin monk in the TV series Kung Fu, which aired for over four years. Despite facing racial discrimination, Ahn remained dedicated to showcasing Asian talent and contributing to his community. He passed away in 1978, leaving a legacy as an inspiring figure for Korean Americans.
In 1984, Philip Ahn was posthumously honored with a star on the Hollywood Walk of Fame, and November 14 was declared “Philip Ahn Day” in Los Angeles by Mayor Tom Bradley.
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