Lee Hyun-hwa rejects the customs of realism. This is his special writing strategy. His strategy like this deconstruct the traditional meaning systems and the view of the world for subject and others. Lee Hyun-hwa's subject is separated with ‘I’ and ‘the other’, and divided at the same time. He thinks that identification of subject can't be verified coherently. It can't be found any individual marks in his characters. Instead, his characters is revealed their figures only in the social relationship networks. For this, he uses various strategic stage devices related with the presence of such character. He doesn't empathize the reappearance of historical events in case of treating history. What he persue is “what is the nature of subject?” which is perceived the historical fact in the view of presence. Events and subjects are cut in his playwriting. This is proved through the arrangement strategy of unique play languages for the stage of forming. It can be confirmed through the arrangement strategy of mainly time and space. Actually, there are mixes of fictional presence and historical past, sometimes there are fictional presence and fictional fact in his works. Also. There are mixes reality and proposal domain and things of contemporary in some space set on a separation. In his play text, ‘orderly’ time consciousness that early modernity had been accepted is doubted. He thinks that history is not running to a special direction but being made a decision by inner powers interaction at once. That's why the matter of his time and space in his playwriting is greatly different from the previous customed perception. The play like factors showing in discourse space decide the direction by the situation which the factors occupies and the structural power which is related with other factors. Lee Hyun-hwa is showing his play beauty through the course of structuring these several play factors in his play works. In Lee Hyun-hwa's play writing, noticeable features are as following: First, it refuses timely order of a story, depart traditional meaning or express critical signs of subject by placing the events repeatedly and disorderly.(「Who is it?」). Second, the arrangement of the events which he has free use to depart the meaning is paradigmatic rather than synthetic. (「 Once only between us」). At this time, the time order that guarantees the interaction of reasonable events doesn't exist. But, in this case, it still remains that according to the author's discourse strategy, how we accept the subject crisis he said, how we interpret.

Lee Hyun-hwa rejects the customs of realism. This is his special writing strategy. His strategy like this deconstruct the traditional meaning systems and the view of the world for subject and others. Lee Hyun-hwa's subject is separated with ‘I’ and ‘the other’, and divided at the same time. He thinks that identification of subject can't be verified coherently. It can't be found any individual marks in his characters. Instead, his characters is revealed their figures only in the social relationship networks. For this, he uses various strategic stage devices related with the presence of such character. He doesn't empathize the reappearance of historical events in case of treating history. What he persue is “what is the nature of subject?” which is perceived the historical fact in the view of presence. Events and subjects are cut in his playwriting. This is proved through the arrangement strategy of unique play languages for the stage of forming. It can be confirmed through the arrangement strategy of mainly time and space. Actually, there are mixes of fictional presence and historical past, sometimes there are fictional presence and fictional fact in his works. Also. There are mixes reality and proposal domain and things of contemporary in some space set on a separation. In his play text, ‘orderly’ time consciousness that early modernity had been accepted is doubted. He thinks that history is not running to a special direction but being made a decision by inner powers interaction at once. That's why the matter of his time and space in his playwriting is greatly different from the previous customed perception. The play like factors showing in discourse space decide the direction by the situation which the factors occupies and the structural power which is related with other factors. Lee Hyun-hwa is showing his play beauty through the course of structuring these several play factors in his play works. In Lee Hyun-hwa's play writing, noticeable features are as following: First, it refuses timely order of a story, depart traditional meaning or express critical signs of subject by placing the events repeatedly and disorderly.(「Who is it?」). Second, the arrangement of the events which he has free use to depart the meaning is paradigmatic rather than synthetic. (「 Once only between us」). At this time, the time order that guarantees the interaction of reasonable events doesn't exist. But, in this case, it still remains that according to the author's discourse strategy, how we accept the subject crisis he said, how we interpret.

Lee Hyun-hwa, discourse space, subject crisis, modernism, deconstruction