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In Korean history of theatre, Oh Tae Suk is located as one of the remarkable playwrights/directors who not only deeply inherits traditional theatrical heritage but also adapts it with creative contemporariness. It is commonly regarded that Oh has started paying serious attention to the tradition since the Playing of Soeutouki staged in 1972. Also in later texts such as Choboob and Tae, we can agree to say that he has achieved to develop his unique Koreaness based on the traditional style.
Still, we need to look at the Queen and the Weird Monk based on a folktale of Samkookyusa in 1969 with regard to approach him from this point of view. It is necessary to point out that his return to tradition stems from Samkookyusa. In this sense, the Queen and the Weird Monk has some significant meanings: It is recorded as his first text leaning on the tradition. It is also his first text trying to adapt from a folktale or history. By studying how it interprets and adapts the folktale, how it applies the traditional dramaturgy, and how it explores history from a different point of view, we could be able to come up some important clues to examine his unique Koreaness in theatre.
The adapted folktale in the Queen and the Weird Monk are like below: Jigwi narrative(commonly saying Sim-hwa-yo-tap), narrative of an eccentric Monk Hye-Gong, the queen Sunduk who is gifted to foresee three events in near future.
The characters Hye-Gong, Jigwi, Seonyo, the king Seong, Yeomjong are the ones who cross over between this world and other world. The theme sort of this reinless come-and-go between two separate worlds is often used in Oh's texts. For example, the shaman character Soondan in Baengmagang Dalbame also takes a journey from the real life to the next world. Oh says, “I would feel so suffocated if I imagined that there is a limit between two worlds, bothering to meet the precious. I would dye to see them.” Spirits are commonly staged in his texts as well. And they often have an identity as a spirit of defense of the fatherland. The king Seong in the Queen and the Weird Monk, and King Uija, Kyebaek and Seongchoong in Baengmagang Dalbame can be mentioned in this category. Plus, the assassinated Kim Ok-Gyun in Doraji also calls to stage as a spirit.
By the way, the character Seonyo in the Queen and the Weird Monk is not a human being but someone from the heaven. She comes down to the ground and finally puts down a rebellion against the queen Sunduk who has a miracle power to foresee the future. It is an interesting aspect that Oh depicts a female character adapted from the folktale with such a tough personality. This kind of strong female characters are seen in Choonpung's wife and Tae as well, just like a symbol of lusty root of the nation.
As we have dealt with, the Queen and the Weird Monk showing Korean qualities as well as contemporary characteristics is the significant text to research Oh Tae Suk's unique dramaturgy with Koreaness.