It is interesting that we look the history of Joseon-gŭkjang[朝鮮劇場]. This is because the time of 1922～1936 lay between the vitality of Joseon society since 3․1 Movement and the pressure of war mobilization basis, the spatial location was colony capital 'kyunsung[京城]' showing "the contradictory dynamics of empire and colony". But it is more important than anything else that Joseon-gŭkjang's scandal revealed the trace that colonial power's domination strategy sutured. That trace shows the ontological situation in Joseon theatre. In other words, the dispute surrounding the right of performance, the distribution of rebellious leaflet, and the existence of gangsters suggest a correlation among theatre and state power and market. First, ensuring the right of performance was the institutional terms of forming Joseon theatre. This conformed with market rule. But strictly speaking this was the permitted result by colonial power. Of course, this ethnic space mostly was the serene place of amusement, theatre audiences were multitude. Yet, there was concealed political tensible force between colonial power and colonial native. The leaflet distribution at Joseon- gŭkjang, as it were, was the political boomerang that colonial native returned for colonial power guaranteeing of that ethnic identity. The problem is that this identity changed since the mid-1930s. This means that a kind of rule that is Joseon person managing on Joseon theatre changed, namely ensuring the right of performance no more became safe. The theatrical ownership and right of performance shifted from separation to coincidence. This was the collection of performing right by capital. This historical development is closely connected with process that the ethnic identity of Joseon theatre have been weaken generally. That the gangsters in Buk-chon[北村] Joseon theatre district began to flourish may be an inevitable consequence. Buk-chon theatre district has share with an all-around small Joseon economy, it was natural for violence to converge in this poor ghetto. But these bad lumpenproletariat-class had no social power as a yakuza[やくざ]. Here is the reason that the relation between the gangsters and theatre revealed 'gido[きど] culture'. In the colonial era both sides more closely related. The entertainment world have faced the system of 'Nation' performing support and control, simultaneously have experience the control of the gangsters entering into a subordinate relationship. At the end of the day, through this process the identity of hŭng-hang culture was building up. The entertainment world's dependency on state power and economical weakness have indicated the chronic problem, frankly speaking these problems were colonial effect.