This study aims to discover the creation methodologies as a mainstream in the North Korea`s drama circles in the 1950s, as well as the practice thereof, and thus to theorize NK`s stage drama creation methodologies. The findings of the study revealed that in the 1950s, NK`s drama circles discussed creation methodologies in diverse ways. The findings of characters, speech, acting and direction are outlined below. First, the main characters of dramas are people of unrealistic capabilities. They are sacrificial heroic figures who dedicate everything to their fatherland and people. This has to make dramas` characters typological. However, in the mid-1950s, to make characters typological was warned, and afterwards, a character was not built by the means of maximizing him, but by capturing an aspect of him and completing it in a three-dimensional way. Second, the condition of language is basically the public`s simple speech. This is because in NK, arts incomprehensible to the public is considered useless. The condition of language is compression and implication. It is important to choose everyday language based on hands-on experience which can contribute to themes. Third, acting is based on the experience of learning. A close observation of reality changes and observation of conversational styles is the basis of creation. However, bringing observations to the stages as they are is a naturalistic acting and is warned. Observations are refined and sorted out, thereby aiming at refined external acting including internal motivation and emotions. Fourth, directors` job is divided into a job with play scripts and a job with actors. An analysis of a play script begins with an analysis of theme from dramatic point of view. The theme here is a main motive of a drama and means the compression of the outline that can dynamically build a stage. The subsequent scene analysis sets up units and goals, and considers close relations of individual scenes. Job with actors focuses on stimulating actors` creativity. To that end, directors refrain from providing demonstrative acting guidance, and provide actors with the acting and conversational skills of real characters as observed by themselves as material of creation. Directors should play a role of a mirror and a midwife for actors. These four methods are considered the main creation methods practiced in the drama circles in the 1950s. This can be summarized; 1. Characters of positive model: from typical to three dimensional, 2. The selective use of simple public language, 3. Refined acting based on experience and observation, and 4. Stimulating actors` creativity based on analysis and observation. Their efforts for these drama creation methods should be considered a fact in the history of drama.