This paper aims to examine the popular drama During Liberation period focusing on Park Ro-a’s dramas, One Night at the Vineyard (1947), Rainbow (1947), and The World of Love(1949). Since the late Japanese colonial period, Park Ro-a wrote dramas that varied in their dramatic orientation and style, including plays with the tendency toward pro-Japanese collaboration, progressive plays during the post-independence period using Korea’s struggle for independence, or historical dramas, all the while applying one consistent dramaturgy. That is, Park actively and persistently utilized the melodramatic dramaturgy to maximize sentimentality, express conventional desires through exaggerated lines and overplayed actions that focused on the romantic relationships between men and women. Particularly, during the liberation period, Park Ro-a was involved in writing and staging popular historical drama, sinpageuk and translated drama from position of left-wing playwright within the contemporary cultural context. As he suffered from a personal crisis of being arrested or terrorized for his left-wing ideas, he joined The Federation Protecting and Guiding the Public.commonly known as, bodo yeonmaeng in Korean.to overtly express his decision to convert. During the process in which Park Ro-a became one of the writers who cooperated with the Korean government’s cultural propaganda, his melodramas assumed the politicality of producing social visions. The three aforementioned dramas by Park commonly deal with the narrative of a male protagonist reconstructing the family through his re-subjectification process. Park Ro-a’s Popular Drama tried not to steer away from the dramatic tasks of liberation period by constantly reminding the social, conventional issues of that period, and to maintain the popular appeal by actively integrating moral bankruptcy, excessiveness and exaggeration into the drama. However, since he could not let go of the historical agenda of constructing nationalism, his works during this period exposed certain flaws such as being overly conceptual, or using slogan-like remarks to excess, compared to the sinpageuk he wrote during the late Japanese colonial period.