Scenes from tvN series "Jeongnyeon: The Star Is Born" / Courtesy of CJ ENM

Set in 1950s post-war Korea, Tving's new historical drama, "Jeongnyeon: The Star Is Born," is captivating audiences both domestically and internationally by reviving the nearly forgotten world of "gukgeuk," traditional Korean all-female theater, and presenting it with a modern twist.

The webtoon-turned-drama follows the story of Jeong-nyeon (Kim Tae-ri), a young singing prodigy who discovers a gukgeuk star and joins a gukgeuk troupe. Her journey to master gukgeuk, a traditional Korean theater genre known for its all-female cast that challenges conventional gender roles, unfolds throughout the series.

Despite immense popularity in the 1950s and '60s, the genre rapidly declined as actors transitioned to film and broadcasting. While "pansori" (traditional Korean musical storytelling) was safeguarded after being designated as an intangible cultural asset, all-female gukgeuk was excluded from support, leading to a severing of its lineage.

Even though it focuses on the lesser-known genre of gukgeuk and features an all-female main cast, the drama garnered pre-release attention due to the popularity of its original webtoon. It has since exceeded expectations, reviving traditional Korean sounds, dances, and stories. The series appeals to the younger generation discovering this cultural heritage, as well as to the older generation experiencing nostalgia. Since its premiere on Oct. 12, the drama has consistently seen a rise in viewership, currently averaging around 13 percent.

"I didn't know that gukgeuk actually existed. Just as I learned to appreciate the new world of China's Peking Opera through 'Farewell My Concubine,' the 'Jeongnyeon' series opened my eyes to the enchanting world of the forgotten tradition of all-women theater troupes," said Kim So-joong, a 43-year-old Korean man raised in the U.K. He added that he particularly enjoyed the performance scenes because it felt as if he was watching a full gukgeuk live.

The latest episode, which aired on Sunday, depicts Jeong-nyeon's intense training as she strives to prove herself. When her best friend Joo-ran (Woo Da-vi) decides to partner with her rival Yeong-seo (Shin Ye-eun) for the duet audition in the upcoming show, Jeong-nyeon is shocked and deeply hurt. Fueled by wounded pride and a competitive spirit, she begins to train relentlessly. Encouraged by the troupe's top star Hye-rang (Kim Yoon-hye), who maliciously advises her to practice until her throat bleeds to rise to the top, Jeong-nyeon overworks her voice by practicing endlessly in a cave.

On the day of the audition, Jeong-nyeon's voice is hoarse. Despite her condition, she performs with all her might. Unexpectedly, her voice clears up and she delivers a moving performance. However, after giving her all, Jeong-nyeon collapses and coughs up blood.

A promotional photo for tvN drama "Jeongnyeon: The Star Is Born" / Courtesy of CJ ENM

Gukgeuk vs. K-pop

The series' appeal stems from its unique structure, drawing parallels between gukgeuk and modern K-pop, according to cultural critic Jung Duk-hyun. The rigorous training of gukgeuk trainees is not much different from what today's K-pop idols go through, along with the fervent fan culture surrounding both art forms.

"It's like a reality competition show, with the characters vying for better roles. This survival format is familiar to Korean audiences, but it also reminds international viewers of K-pop training or audition programs. The combination of singing, dancing and the clear divide between trainees and debuted performers makes the show feel modern, despite its 1950s gukgeuk setting," he said, explaining the drama's global appeal.

He also praised the show for featuring "gugak," or traditional Korean music.

"Gugak is incredibly powerful, but there's a prejudice that it's a bit old-fashioned, even for us. This drama breaks down those preconceptions to a large extent. From the very first scene, where Jeong-nyeon's mother sings when she was young, it breaks that mold ... In the quiet night with the falling snow, she sings a solo and it has a very serene atmosphere. It visually complements the dramatic elements of the series, fully capturing the taste and enjoyment of the sounds that gukak embodies," Jung said.

Another cultural critic, Kim Hern-sik, also gave the drama high praise for its groundbreaking nature, noting that it is a "bold move" to produce a series based on relatively obscure art forms like pansori and gukgeuk.

"By centering the narrative around female artists and their aspirations, the drama challenges traditional gender roles. It focuses on female empowerment and growth is a universally appealing theme. Moreover, the detailed depiction of gukgeuk performances, something rarely seen in media, represents a groundbreaking innovation in the field of arts and culture. Few dramas delve as deeply into the rehearsal and performance of classic gukgeuk pieces as this one does," he said.

Kim believes the changing status of Korean content around the world can also explain the drama's popularity abroad.

"In the past, even if we presented traditional Korean culture, only few countries would have shown interest in pursuit of cultural diversity. While Korea's cultural exports were once met with limited interest, now there's a global curiosity about anything Korean, as seen in how Rosé's song 'APT.' sparked widespread curiosity about its meaning," Kim said.