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A Study on the Plays by Park Yeong-Ho at the End of Japanese Colonial Ruling - With a focus on Lamplights, Wild Boars, and Water Birds - Yuk, Jeong-hee This study examined Park Yeong-ho’s works at the end of Japanese colonial ruling to understand the concrete patterns of characters embodied in national theater, finding out that there were differences in the patterns of character embodiment according to the situations of the times even though they were created under the same goals. Lamplights worked to consolidate the inferiority of Joseon people through the schematization of the same narrative depressed in negativity; Wild Boars embodied the superior and elite group of Joseon people, who were opposite to the majority of inferior Joseon people, as almost perfect characters and made them represent the ruling Japanese; and Water Birds presented all of the characters in a positive fashion even though they were not superior, graduating from the old negative perception of Joseon people. Even the characters who were like the spokesmen of the Japanese were reproduced as youths from the working class instead of the ruling class. They all conveyed the ruling Japanese’s governance strategies that varied according to the times with such dramatic devices as “speaking-centric” schematized narrative and conclusive reading, enlightening remarks of figure of speech and proposition, and reproduction through “showing-centric” stagization.