# Park Jeong-ja (actress)

Park Jeong-ja (Korean: 박정자, born March 12, 1942) is a South Korean actress. She made her debut as a theater actor in 1962. Park is the most critically acclaimed theater actress in South Korea. In 1997, Park became the first Woman who received theater award from 7th Lee Hae-rang Theatre Award, one of the major theater awards in Korea. She also holds the distinction of being the only actress to have won the Best Actress award three times at the Dong-A Theatre Award. In 1971, she received the award for her portrayal of Ondal's mother in "Where and How Shall We Meet?" (7th edition). Then, in 1986, she won for her performances as the second wife in "The Egg" and the aunt in "A Country as Far as the Sky" (22nd edition). In 1987, she secured the award once again for her role as Monique in "Women in Crisis" (23rd edition). Among these works, she played the lead role solely in "Women in Crisis," while in the other two productions, she acted in supporting roles.
Park's talent as a film actress has garnered significant recognition. In 1975, she was honored with the Grand Bell Awards for Best Supporting Actress for her role in director Kim Ki-young's "The Promise of the Flesh." She achieved the same feat once again in 1985 for her performance in director Jeong Jin-woo's "The MA-NIM." In addition to these accolades, Park has showcased her acting skills in other notable films such as "Growing Generously," "Anemone," and "Widow's Dance."
Since its establishment in 2005, she has served as chairman of the board of directors of the Korea Activist Welfare Foundation and has been supporting medical and living expenses for theater practitioners. In 2007, Park was awarded the 2007 Bogwan Order of Cultural Merit (South Korea) by the government. In 2008, She has been granted membership in the National Academy of Arts of Korea.

## Early life and education

Park Jeong-ja, the youngest of five children, was born on March 12, 1942, in Sorae Port, Namdong-gu, Incheon, during the Japanese colonial period. Her father was a native of Incheon, while her mother originated from Ganghwa Island. Her Japanese name was Masako (正子). Her father selected Chinese character "Baaljeong (正)" as the middle character for her name. Reflecting on her name, Park later commented, "It is uncommon for a woman's name to include the character 'Baaljeong.' However, I believe that 'brightness' has been a guiding force in my life, bringing me to where I am today."
Living in Seaside Town during her childhood, she was surrounded by salt farms and narrow-gauge trains. Her father ran a brewery wholesale business called Cheonil Sanghoe in Sorae Port and also served as the village head. Her family, moved to Sinheung-dong, Incheon in the wake of liberation in 1945. They moved into Jeoksan House, where Japanese people used to live. However, in the same year, her father was ill and passed away. After her father's death, Park Jeong-ja's family packs their bags and heads to Yongsan, Seoul. Her mother opens a textile factory in her newly settled city and struggles to support her five children.
It was in Seoul, Park first encountered the world of theater. In April 1950, there was a theater called Bumin-gwan, located in what is now the Seoul City Hall. It was there that she witnessed the play "Wonsullang." She was able to watch plays at the theater thanks to her older brother, Park Sang-ho, who worked as a research student at Shinhyup Theater Company. In that era, television was non-existent, and radios were only found in one out of every ten households, making it a tremendous privilege to have the opportunity to attend the theater and experience a live performance.
   I saw my first play when I was nine years old (Korean Age). In April 1950, before the June 25 Incident occurred, at the theater now called Bumin-gwan. My brother appeared in a minor role in 'Wonsulang' written and directed by Yoo Chi-jin [ko] (柳致眞, 1905-1974). I was ecstatic. Even now, I still remember that scene. Kim Dong-hoon (金東勳) plays the lead role of Won-sullang, Kim Seon-yeong (金仙英) plays Jin Dal-rae, the girl who follows Won-sullang, and Baek Seong-hee (白星姬) plays the princess who is Won-sullang's fiancée. Kim Sun-young was a North Korean actress during the June 25 Uprising. She was short, had a sonorous voice, and was an impressively tall actress.
Following the outbreak of the Korean War on June 25, her older brother fled to Daegu with Shinhyup Theater Company. He enlisted locally, and went to consolation performances as a member of the military art corps. Her mother took her four young daughters to seek refuge in her hometown, Ganghwa Island. After the retreat on January 4, 1951, her family relocated once again, this time to Jeju Island. Park distinctly recalls embarking on a US military ship, the LST, from Wolmido to Jeju Island. During their stay, her mother would frequently travel between Jeju, Daegu and Mokpo, buying and selling various goods to make a living. These memories have led Park to consider Jongdal-ri, Gujwa-eup, Jeju, also as her hometown. In the future, she will occasionally visit to reminisce about those days, especially when she misses her mother.
After three years of war, an armistice was finally declared, and Park's family returned home to Incheon. She transferred to the 4th grade at Parkmun Elementary School and continued her education in her hometown until the beginning of the 6th grade. During her time at Parkmun Elementary School, there was only one class per grade, and all the students were female. The school was situated within Dapdong Cathedral, which meant that she spent a significant amount of time in the church's front yard. She also appeared in a Sunday school play. She couldn't help but wonder why this fun thing was only done once a year on Christmas.
Upon returning to Seoul, Park engaged in various activities during her middle and high school years at Jinmyeong Girls' Middle and High School. She participated in oratory, choir, and Korean dance. The stage became her calling, and she fearlessly embraced every opportunity to perform, showcasing her talent and dedication.
During her university entrance exam preparations, a Theater and Film Department was established at Chung-Ang University. However, Park didn't feel inclined to apply. Instead, she unexpectedly chose to pursue Journalism in the Department of Journalism at Ewha Womans University. Initially, during her freshman year, Park intentionally avoided involvement in theater, considering her previous experiences sufficient. She held reservations about university theater, perceiving it as somewhat juvenile and uninteresting. As a result, she didn't audition or consider participating. However, by her sophomore year, the irresistible pull of theater became too strong to resist.

## Career

In 1962, during her second year as a journalism student, Park auditioned for Jean Racine's Phèdre produced by The Ewha Womans University College of Liberal Arts Theater Department (이화여대 문리대 연극부). Despite being confident that she would secure the lead role of Phaedra, she was instead cast as Panov, a maid with only 16 lines of dialogue. When she took the stage, she became stiff and made a mistake towards the end, leading to a scolding from the director. These experiences served as humbling moments for her.
Starting from 1962, Park actively participated in three plays throughout her university years. The following year, she performed The House of Bernarda Alba directed by Heo Gyu (許珪, 1934-2000). She received rave reviews for her role as an old woman in her 80s. There was even a comment that 'college plays threaten established plays.' The experiences laid a solid foundation for her career, thanks to the unique nature of The Ewha Womans University College of Liberal Arts Theater Department (이화여대 문리대 연극부). It went beyond being a typical theater club or a departmental project; it embodied the concept of a "college of arts play." The performances took place at prestigious venues such as the Drama Center and Myeongdong Art Theater, rather than the university auditorium. Renowned professional directors provided guidance for the productions, resulting in significant acclaim.
Park's passion for acting motivated her to pursue a career in voice acting, especially considering that television was not yet widely accessible, making radio the primary form of entertainment at the time. In 1963, while in her third year of university, Dong-A Broadcasting was established and announced open recruitment for voice actors. Despite the fierce competition, with approximately 150 applicants for each available position, Park decided to apply. She successfully passed the first, second, and third rounds of exams. However, a dilemma arose as her university had a prohibition on students appearing in broadcasts. Park found herself faced with an important decision and ultimately chose to drop out.
During her time as a voice actor, Park had the opportunity to work alongside her classmates and other theater actors who also ventured into voice acting on the radio, such as Sami-ja, Jeon Won-ju, and Kim Moo-saeng. She also collaborated with theater actors like Jang Min-ho and Na Ok-ju. This experience allowed her to further develop her skills as a theater actor, including improving her pronunciation abilities.
Upon the request of the university's president, Kim Gap-soon (1914-2005), Park still practiced theater with students after work and perform on stage. In 1964, they staged the play Blood Wedding by Federico García Lorca at the National Theater of Korea in Myeongdong. It was during this time that she met the director Kim Jeong-ok, who later became her lifelong theater companion. Kim Jeong-ok was a renowned director from the Minjung Theater. In addition to teaching and directing at The Ewha Womans University College of Liberal Arts Theater Department (이화여대 문리대 연극부), he also held a professorship in Theater and Film Studies at Chung-Ang University.

### Early career as member of Jayu Theater

In 1966, Kim Jeong-ok and Lee Byung-bok established Jayu Theater, inviting actors from the "Minjung Theater" such as Na Ok-ju, Kim Hye-ja, Ham Hyun-jin, and Choi Sang-hyun as founding members. Na Ok-ju recommended Park to join. Park agreed and very happy to be able to work in the same trope with Kim Jeong-ok. Subsequently, the company expanded its roster to include actors Kim Yong-rim, Yoon So-jung, Kim Gwan-soo, Choi Bul-am, Moon Oh-jang, and even film director Kim Hong-sik.
In March 1966, they gathered at a famous restaurant called "Hyangwon" in Jingogae. After the founding meeting, with Teacher Lee Byung-bok as the representative, Jayu Theater was officially declared on April 29. Jayu's first performance was a play called "The Feast of the Followers" by Italian playwright Eduardo De Filippo (original title: Poverty and Nobility). It was a farce about poor servants disguising themselves as nobles. At Kim Jeong-ok's suggestion, Jayu Theater initially planned to stage Friedrich Dürrenmatt's The Physicists. However, due to its difficulty and philosophical nature, they changed the play to "The Feast of the Followers." With the performance date approaching in less than a month, they felt the pressure and urgency to prepare. They practiced tirelessly, using Lee Byung-bok's reception room in Jangchung-dong as their rehearsal space. Despite the challenging start, the performance was well-received, particularly for the actors' exceptional acting skills. This successful production marked the beginning of Jayu Theater's journey.
   Like the saying 'There must be a small hill for a cow,' I, too, had a definite small hill in my life. Established in June 1966, the theater company called "Jayu" (Freedom) has one of the longest histories in the Korean theater industry. To me, Jayu was not just a simple hill, but a place that felt like home. Jayu was the starting point where I, Park Jeong-ja, an aspiring actress, could have the space and time to become a star in the theater world.
During her time with Jayu, Park had the privilege of participating in remarkable productions such as "The Feast of the Followers," "The Diver Ashore," "Murder Fantasy," "Marius," "The Medal of the Dead," "Song of the Sad Cafe," "Confessions for a Black Prostitute," "Where and What Will We Become?," "Couple Practice," and approximately 30 other works.
After standing on stage with Jayu for years, there are works where evaluations of the productions intertwine with Park's personal history. One such work is "Where and How Shall We Meet?" written by Choi In-hoon and directed by Kim Jeong-ok. In the original production at Myeongdong National Theater in 1970, as well as in the revivals in 1974 and 1986, Park Jeong-ja portrayed the role of "On Dal's Mother." Throughout the play, she remained silent until her son, On Dal, died in battle and her daughter-in-law, Princess Pyeonggang, lost her life opposing the rival political faction. Then, she was left alone on stage, delivering a soliloquy in solitude, saying, "Is it snowing...? Why is he so late?" It was during this production in 1970 that Park received her first Dong-A Theatre Award.
During the 1974 performance, Park took to the stage with a full-term pregnancy. In the early part of the play, when she had to lie down on the floor upon meeting the princess, she had concerns that the fetus might pop out through her mouth. It was a performance where the baby moved so much that she worried about such an occurrence. In the dressing room, she lay down, gasping for breath, and barely made it onto the stage, enduring each day of the performance.
Park had an opportunity to reprise her role as Mother in play Blood Wedding by Federico García Lorca during an outdoor performance at the Malaga International Theatre Festival in Spain, which was the hometown of the playwright. The audience was enthralled even without translation. Local newspapers titled their articles, "Lorca was not betrayed." In response to the evaluation that the actress who played the role of the mother was a world-class performer, the excited interpreter relayed Kim Jeong-ok's words, softly but earnestly, "Park Jeong-ja is already a world-class actress. Her fame has simply not reached Spain yet."

### Works with Sanullim Theater

Park first work with director Lim Young-woong CEO of Sanullim Theater, was play in 'A Country As Far As the Sky'. She acted alongside Jeon Jeon-song, Joo Ho-seong, Jo Myeong-nam and Baek Seong-hee. In January 1986, Park won her second Dong-A Theatre Award for her performance.
In 1986, Lim Young-woong was planning to perform Korean adaptations of Simone de Beauvoir's play "Women in Crisis" to commemorate the first anniversary of Sanullim Theater opening. As CEO Lim Young-woong sought a suitable actress for the female lead, he asked Park for recommendations. Park suggested actors Kim Hye-ja and Kim Min-ja, but unfortunately, they were both too busy at the time. In the end, Park recommended herself. However, CEO Lim Young-woong initially rejected the idea, expecting a more renowned actress for the role, which deeply wounded Park's pride. Eventually, CEO Lim Young-woong approached her and handed her the script, suggesting that she join the production.
The play turned out to be a success. From the first performance for VIPs on March 30, the response was unusual. Lee Byeong-bok, CEO of Jayu Theater Company, said to director Lim Young-woong, "Thank you for making Park Jeong-ja a woman," and from the next day, housewife audiences flocked to Sanullim Small Theater like a tide. The audience was indignant in real time at the lines spoken by Cho Myeong-nam, who played her husband, and when Park Jeong-ja complained, the housewives sobbed. The article was so popular that it appeared in the social section rather than the cultural section.
Park Jeong-ja described it as a work that drew a tremendous audience and marked a significant moment in Korean theater. Through role Monique, Park garnered prestigious accolades including the Dong-A Theatre Award, Baeksang Arts Award, and Seoul Drama Critics Group Award. This remarkable achievement solidified her status as a triple crown winner in the theater industry.
However, that particular year happened to coincide with the 20th anniversary of the Jayu Theater Company. Coincidentally, the play chosen to commemorate the occasion was "Where and How Shall We Meet?" based on Choi In-hoon's acclaimed work, which held significant importance for the Jayu Theater. The relationship between two great masters of the Korean theater world, Kim Jeong-ok and Lim Young-woong, was strained because neither of them wanted to give up on Park Jeong-ja. Park revealed that the clash between the two directors made her feel trapped in the middle, making it the most challenging moment in her career.
Throughout the summer, "Woman in Crisis" drew packed audiences every day. It had been a long time since such an unprecedented hit had emerged, and the leading actress found herself torn between two extremes, contemplating whether to step down. After many twist and turn, Park Jeong-ja once again took on the role of Ondal's mother. "Woman in Crisis" continued its performances with a change in its lead actress. Kim Jeong-ok, who had not even made eye contact with Park Jeong-ja, resolved the conflict after her first performance by saying, "As expected, you shine on stage."
In 1990, Park had remarkable moment in her acting career. It was during the performance of Marsha Norman's play 'night, Mother. Park portrayed the role of a mother desperately trying to dissuade her daughter from taking her own life. The play reached its climax in the final conversation between the mother and daughter, where the daughter ominously hinted at her intentions. The daughter retreated to her room, armed with a pistol, and locked the door. In front of the locked door, Park's character alternated between soothing her daughter, pleading with her, shouting at her, venting her anger, and ultimately collapsing in despair when the gunshots rang out. It was a haunting monologue that traversed a wide spectrum of emotions and showcased the diverse personalities of the characters in just over a minute. Such a performance is a testament to Park Jeong-ja's unique unparalleled talent.
Park won Grand prize and Best Actress Award in 8th Baeksang Arts Awards for her performance in play 'night, Mother. When asked about this exceptional performance, Park Jeong-ja humbly responds, "That's high praise. However, I have no plans to revisit play 'night, Mother. I don't believe I can surpass what I accomplished back then. Nevertheless, there are a few other works that offer similar depth and challenges."
In 1991, Park worked again with Sanullim Theater with the play 'Mom Discovered the Sea at Fifty,' It was performed for almost a year and attracted more than 50,000 audiences, and set a record of winning four categories including Best Picture, Best Actor, Best Director, and Best Translation in the free entry section of the Seoul Theater Festival.
In that same year, The "Flower Bouquet Society," was established, starting with 17 people who love Park Jeong-ja's branded plays such as "Mom Discovered the Sea at Fifty" and "Woman in Crisis," The 12 members already form a group as early as 1987. The name "Flower Bouquet" was chosen by the members, symbolizing the desire to spread the subtle and long-lasting fragrance of culture, like the scent of dried flowers in a bag. Members of the Flower Bouquet Society pay an entrance fee of one million won and purchase four theater tickets per person whenever Park Jeong-ja has a performance. Attending the performances is mandatory. The entrance fees paid by the members are used for the Flower Bouquet Society's activities or donated to other organizations under the name of the society.
In 1992, Sanullim Theater relocated to Dongsung-dong, as the current small theater in Unni-dong had to be closed in line with the Seoul Metropolitan Government's initiative to restore Daewongun's private residence. After the theater moved to its new location, a performance of their popular experimental repertoire, Agnes of God, was staged in April to celebrate the opening. Park played the role of the head nun, while Son Sook portrayed Dr. Livingstone. Shin Ae-ra and Jung Soo-young alternated in playing the character of Agnes.
In 2003, Park took on the role of Maude in 2nd encore performance of "19 and 80." The play was originally titled Harold and Maude, written by Colin Higgins, and premiered in Korea in 1987, featuring Kim Hye-ja and Kim Joo-seung. The story revolves around Maude, an eccentric, adorable grandmother who, even at the age of 80, refuses to let go of her dream of becoming an astronaut. She meets Harold, a 19-year-old young man, who offers her wisdom and love, helping her find her own strength. It was directed by Jang Doo-yi.
Park performed in "19 and 80" five times, in 2003, 2004, 2006, 2008, and 2012, each time with different co-stars. In 2008 version, the play was adapted into a musical. Park personally taking charge as a producer for all five productions.

## Other activities

In May 2005, the Theater People's Welfare Foundation was established, with Park assuming the role of its inaugural president. The is to support the stability of actors' lives in retirement and scholarship programs for their children. Initially hesitant about creating an organization for the theater, Park was eventually persuaded by her colleagues. Park also believed that she had benefited greatly from theater and should contribute back to the theater community.

## Personal life

Park Jeong-ja's path crossed with her future husband thanks to her friend Lee Ji-seon, a reporter of Women Donga. Lee Ji-seon enlisted Park's help to put on a consolation performance for a military unit in Gangwon Province where her brother, Lieutenant Lee Ji-song, was stationed. During Lieutenant Lee Ji-song's break from duty, Park and Lee Ji-seon met to discuss the upcoming performance. Alongside their colleagues Choo Song-woong and Ham Hyun-jin, member of the theater group Jayu, they passionately planned and performed the play "Friendship." Their collaboration and shared experiences forged a deep bond, and Park and Lieutenant Lee Ji-song began their relationship.
The couple faced opposition from both families due to the four-year age gap between Park and Lee. Lee's mother, in particular, strongly objected to their relationship. She was worried about Lee's career choice of transitioning from interior design to the advertising industry, and she believed that his decision was solely motivated by his desire to marry Park. This intensified her concerns about the perceived instability of his profession. Despite facing opposition from their families, Park and Lee remained steadfast and ultimately tied the knot in 1972 when Park was 30 years old and Lee was 26 years old. Throughout their marriage, they had a son and a daughter.
In 1973, after graduating from the Department of Western Painting at Hongik University, director Lee Ji-song entered the advertising industry. He worked as a commercial director at Manbosa, Yonhap Advertising, Sejong Culture, and Cheil Worldwide. Bravocon and Young Age were among the companies he worked for. He was known for creating successful commercials of the time, including Ghana Chocolate.

## Filmography
### Film

Film appearances :
| Year | Title | Title | Role | Note | Ref. |
| Year | English | Korean | Role | Note | Ref. |
| 1972 | The Insect Woman | 충녀 | Madame | supporting actor | |
| 1975 | Promise of the Flesh | 육체의 약속 | Female prison guard | Main Role | |
| 1977 | Io Island | 이어도 | Shaman | | |
| 1977 | The Reincarnation, Hanne's Moonlight | 한네의 승천 | | | |
| 1978 | Yeo-su | 여수 | | | |
| 1978 | The Guest in Room Guest and Mother | 사랑방 손님과 어머니 | Housekeeper, Ahn Seong-daek | Main Role | |
| 1978 | Once Upon a Long Time | 옛날 옛적에 훠어이 훠이 | | Main Role | |
| 1978 | Rainy Season | 장마 | | supporting actor | |
| 1978 | Soil | 흙 | | supporting actor | |
| 1979 | Paljunochopanambo | 빨주노초파남보 | | Main Role | |
| 1981 | Ban Geum-ryun | 반금련 | | | |
| 1981 | Mandala | 만다라 | | | |
| 1982 | Come Low Unto Us | 낮은 데로 임하소서 | | Bit Role | |
| 1984 | Widow Dancing | 과부춤 | Director of a marriage counseling center | Main Role | |
| 1985 | The MA-NIM | 자녀목 | Nomanim | Main Role | |
| 1986 | Lee Jang-ho's Foreign Team | 이장호의 외인구단 | | Bit Role | |
| 1987 | Flowers are blooming in a windy day | 바람 부는 날에도 꽃은 피고 | | | |
| 1987 | Pillar of Mist | 안개 기둥 | | supporting actor | |
| 1989 | I Give You Everything | 아낌없이 주련다 | | supporting actor | |
| 1993 | Western Avenue | 웨스턴 애비뉴 | | supporting actor | |
| 1995 | Sea Anemone | 말미잘 | | Main Role | |
| 2013 | Applause | 박수건달 | Wang Mudang | | |
| 2015 | Invited | 초대 | Grandmother | Short film | |
| 2016 | Master | 마스터 | Shin Seon-saeng | Special appearance | |
| 2018 | Herstory | 허스토리 | Mrs. Hong of the brothel | Special appearance | |
| 2021 | Love to See | 보는 것을 사랑한다 | My Role | Special appearance | |

### Television series

Television series appearances :
| Year | Title | Title | Role | Note | Ref. |
| Year | English | Korean | Role | Note | Ref. |
| 1987 | Eolgureomneun Moksori | 얼굴없는 목소리 | | MBC | |

### Radio program

Radio program :
| Year | Title | Role | Note | Ref. |
| 2015 | EBS Book Reading Radio Reading Series | Announcer | EBS Korea Educational Broadcasting Corporation | |

## Stage
### Concert

Appearances in music concerts, poetry reading and talk shows :
| Year | Title | Title | Role | Theater | Date | Ref. |
| Year | English | Korean | Role | Theater | Date | Ref. |
| 2010 | Heavenly Concert Where the Poem Flows | 시가 흐르는 천상음악회 | Poetry reading | Uijeongbu Arts Centre Grand Theatre | April 24 | |
| 2018 | March 2018, "Noon Concert" | 2018 <정오의 음악회> 3월 | Host | National Theatre Sky Theatre | May 19 | |
| 2018 | 2018 Gangneung Seamarq Festival— Summer Praise with Actress Park Jeong-ja | 2018 강릉 씨마크 페스티벌 " 연극배우 박정자와 함께하는 여름 예찬" | Poetry reading | Seamark Hotel in Gangneung | August 11 | |
| 2018 | September 2018, "Noon Concert" | 2018 <정오의 음악회> 9월 | Host | National Theatre Sky Theatre | September 5 | |
| 2018 | The 3rd M-PAT Classical Music Festival: Read Aloud Classic | 제3회 M―PAT(엠팻) 클래식 음악축제: 책 읽어주는 클래식 | Poetry reading | Mapo Central Library | September 20 | |
| 2018 | October 2018, "Noon Concert" | 2018 <정오의 음악회> 10월 | Host | National Theatre Sky Theatre | October 17 | |
| 2018 | November 2018, "Noon Concert" | 2018 <정오의 음악회> 11월 | Host | National Theatre Sky Theatre | November 7 | |
| 2019 | March 2019, "Noon Concert" | 2019 <정오의 음악회> 3월 | Host; Poetry reading | National Theatre Sky Theatre | March 6 | |
| 2019 | April 2019, "Noon Concert" | 2019 <정오의 음악회> 4월 | Host; Poetry reading | National Theatre Sky Theatre | April 10 | |
| 2019 | May 2019, "Noon Concert" | 2019 <정오의 음악회> 5월 | Host; Poetry reading | National Theatre Sky Theatre | May 22 | |
| 2019 | June 2019, "Noon Concert" | 2019 <정오의 음악회> 6월 | Host; Poetry reading | National Theatre Sky Theatre | June 26 | |
| 2019 | Gangneung sings a movie: Park Jung-ja's poet who loved movies | 강릉, 영화를 노래하다: 박정자의 영화를 사랑한 시인 | Presenter | Gangneung Arts Center Small Performance Hall | November 9 | |
| 2020 | Masterpiece reading brunch concert 'Actor who reads books' | 명작 낭독 브런치 음악회 ‘책 읽어주는 배우’ | Narrator | Raum Art Center | March 10 | |

### Creative musical Theater

Creative musical plays performances :
| Year | Title | Title | Role | Theater | Date | Ref. |
| Year | English | Korean | Role | Theater | Date | Ref. |
| 1994 | Park Jung-ja's November Waltz | 박정자의 11월의 왈츠 | Park Jeong-ja | Sanullim Theater | October 27 | |
| 2009 | Do you like Brahms by Park Jeong-ja | 박정자의 브람스를 좋아하세요 | Park Jeong-ja | Jeongmiso, Daehak-ro Installation Theatre | Feb 7–28 | |
| 2009 | Do you like Brahms by Park Jeong-ja | 박정자의 브람스를 좋아하세요 | Park Jeong-ja | Auditorium of the National Museum of Korea | April 2–23 | |
| 2012 | Park Jeong-ja's November Waltz | 박정자의 11월의 왈츠 | Park Jeong-ja | Cheonan Arts Center Grand Hall | Nov 24–25 | |
| 2013 | Park Jeong-ja's November Waltz | 박정자의 11월의 왈츠 | Park Jeong-ja | Yeoju Cultural Center | Jan 31 | |
| 2013 | Park Jeong-ja's November Waltz | 박정자의 11월의 왈츠 | Park Jeong-ja | Uijeongbu Arts Center Small Theater | March 8–9 | |
| 2014 | Park Jeong-ja's November Waltz | 박정자의 11월의 왈츠 | Park Jeong-ja | Icheon Art Hall Small Performance Hall | Sep 27 | |
| 2014 | Take Care of Mom | 친정엄마 | Mother | Bupyeong Art Center Dalnuri Theater | March 27 | |
| 2020 | Park Jeong-ja's Actor Theory: Speak Like a Song | 박정자의 배우론: 노래처럼 말해줘 | Park Jeong-ja | Seoul Arts Centre Free Small Theatre | Feb 6–16 | |
| 2021 | Park Jeong-ja's musical play: Speak Like a Song- Goyang | 박정자의 노래대화극: 노래처럼 말해줘－고양 | Park Jeong-ja | Sarasae Theater in Aram Nuri, Goyang | July 31 | |

### Musical

Musical plays performances :
| Year | Title | Title | Role | Theater | Date | Ref. |
| Year | English | Korean | Role | Theater | Date | Ref. |
| 1993 | Romantic comedy musical midsummer night's dream | 로맨틱코메디 뮤지컬 한여름밤의 꿈 | | Sejong Center for the Performing Arts Fountain Outdoor Stage | Sep 7–16 | |
| 1998 | Nunsense | 넌센스 | Nun | Sejong Center for the Performing Arts Main Auditorium | Jan 31–Feb 5 | |
| 2008 | 19 and 80 | 19그리고80 | Maude | Seoul Arts Centre Free Small Theatre | Jan 19–Mar 5 | |
| 2011 | Mother's Song | 어머니의 노래 | Mother | Arko Arts Theater Grand Theater | Aug 22–24 | |
| 2011 | Mother's Song | 어머니의 노래 | Mother | Incheon Culture and Arts Center Main Performance Hall | Oct 19–20 | |
| 2017–2018 | Billy Elliot | 빌리 엘리어트 | Billy's Grandma | Daesung D Cube Art Center | Nov 28–May 7 | |
| 2021–2022 | Billy Elliot | 빌리 엘리어트 | Billy's Grandma | Daesung D Cube Art Center | Aug 31– Feb 13 | |

### Theater

Theater plays performances :
| Year | Title | Title | Role | Theater | Date | Ref. |
| Year | English | Korean | Role | Theater | Date | Ref. |
| 1962 | Phèdre | 페드라 | Panov | | | |
| 1963 | The House of Bernarda Alba | 베르나르다 알바의 집 | Maria Josefa | National Theatre (Myeongdong) | National Theatre (Myeongdong) | |
| 1964 | Blood Wedding | 피의 결혼 | Mother | National Theatre (Myeongdong) | National Theatre (Myeongdong) | |
| 1965 | Evil Spirit | 악령 | | | | |
| 1965 | Faust | 파우스트 | | | | |
| 1966 | The Feast of the Followers | 따라지의 향연(饗宴) | Concetta | National Theatre (Myeongdong) | June 16–19 | |
| 1966 | Agent of God | 신의 대리인 | | National Theatre (Myeongdong) | Nov 17–21 | |
| 1967 | Haenyeo Come Ashore | 해녀 뭍에 오르다 | Haenyeo | National Theatre (Myeongdong) | Apr 28–May 4 | |
| 1968 | Operation Picnic | 픽크닉 작전 | | National Theatre (Myeongdong) | April 9–14 | |
| 1968 | Murder Fantasia | 살인환상곡 | | National Theatre (Myeongdong) | Oct 26–30 | |
| 1969 | La Cantatrice Chauve | 대머리 여가수 | Echo | Café Teatre (the first small theater in Korea, 24-1 Chungmuro 1-ga) | April | |
| 1969 | Friendship | 우정 | Sushi Couple (female) | Café Teatre (the first small theater in Korea, 24-1 Chungmuro 1-ga) | April | |
| 1969 | Sunny morning | 햇빛 밝은 아침 | | Café Teatre (the first small theater in Korea, 24-1 Chungmuro 1-ga) | April | |
| 1969 | Marius | 마리우스 | | National Theatre (Myeongdong) | Jun 12–16 | |
| 1969 | Passing for Black | 흑인 창녀를 위한 고백 | Nancy Manigo | National Theatre (Myeongdong) | Sep 17–21 | |
| 1970 | Medal of the Lion | 사자의 훈장 | | National Theatre (Myeongdong) | Feb 20–26 | |
| 1970 | Forest Fire | 산불 | Byeong-gyeok's Wife | National Theatre (Myeongdong) | Jun 26–Jul 1 | |
| 1970 | Where and How Shall We meet? | 어디서 무엇이 되어 만나랴 | Ondal's mother | National Theatre (Myeongdong) | Nov 18-22 | |
| 1971 | The School for Wives | 아가씨 길들이기 | | National Theatre (Myeongdong) | March 9–14 | |
| 1971 | Women in the Net | 그물안의 여인들 | | National Theatre (Myeongdong) | May 26–30 | |
| 1971 | The Ballad of the Sad Café | 슬픈 까페의 노래 | Amelia Evans | National Theatre (Myeongdong) | Sep 2–6 | |
| 1972 | Fantasy Travel | 환상여행 | Yoon Geum-bong | National Theatre (Myeongdong) | Feb 1–7 | |
| 1972 | The Feast of the Followers | 따라지의 향연(饗宴) | Concetta | National Theatre (Myeongdong) | Sep 14–18 | |
| 1973 | Cat on a Hot Tin Roof | 뜨거운 양철지붕위의 고양이 | | Art Theater | Dec 20–24 | |
| 1974 | Leather Beoseon | 가죽버선 | | Korea Culture and Arts Foundation Theater Hall | July 5–7 | |
| 1974 | The Legend of a River that Doesn't Flow | 흐르지 않는 강의 전설 | | Unsul Theater | Oct 10–14 | |
| 1975 | Faust | 파우스트 | | Myeongdong Arts Center | June 5–6 | |
| 1975 | Woman and Suin | 여인과 수인 | Woman | Myeongdong Arts Center | July 9–14 | |
| 1976 | Tango in Your Pocket | 주머니속에서 탱고를 | Malt | Civic Center Annex | June 17–21 | |
| 1978 | Passing for Black | 흑인 창녀를 위한 고백 | Nancy Manigo | Theatre Hall Sesil Theatre | Feb 15–21 | |
| 1978 | The Bald Soprano - 100th episode | 대머리 여가수 - 100회째 | Echo | Theatre Hall Sesil Theatre | May 31–Jun 6 | |
| 1978 | What Will Becomes? | 무엇이 될고하니 | | Theatre Hall Sesil Theatre | Oct 27–Nov 1 | |
| 1978 | The Bald Soprano | 대머리 여가수 | Echo | El Canto Arts Theater | Dec 14–31 | |
| 1979 | That Woman Catches Someone | 그 여자 사람 잡네 | | El Canto Arts Theater | Feb 13–March 4 | |
| 1980 | Baekyang Island's Desire | 백양섬의 욕망 | Bia | El Canto Arts Theater | Feb 17–March 13 | |
| 1982 | Blood Wedding | 피의 결혼 | Mother | Culture and Arts Center Grand Theater | June 1–July 12 | |
| 1982 | Evening Primrose | 달맞이꽃 | | National Theater Small Theater | June 11–16 | |
| 1983 | Blood Wedding | 피의 결혼 | Mother | Culture and Arts Center Grand Theater | May 3–9 | |
| 1984 | Flowers Bloom Even on Windy Days | 바람부는 날에도 꽃은 피네 | | Munyae Theater Seoul | Feb 16-22 | |
| 1984 | Blood Wedding Flowers Bloom Even on Windy Days | 피의 결혼 바람부는 날에도 꽃은 피네 | Mother | Cultural Center-Seoul | June 1–July 12 | |
| 1984 | Blood Wedding Flowers Bloom Even on Windy Days | 피의 결혼 바람부는 날에도 꽃은 피네 | Mother | National Theater-Seoul | June 1–July 12 | |
| 1984 | Blood Wedding Flowers Bloom Even on Windy Days | 피의 결혼 바람부는 날에도 꽃은 피네 | Mother | Theater des Nations, Nancy, Epinal, Metz | June 1–July 12 | |
| 1984 | Blood Wedding Flowers Bloom Even on Windy Days | 피의 결혼 바람부는 날에도 꽃은 피네 | Mother | Maison des Cultures du Monde, Paris | June 1–July 12 | |
| 1984 | Blood Wedding Flowers Bloom Even on Windy Days | 피의 결혼 바람부는 날에도 꽃은 피네 | Mother | Festival International du Theater Hamamett, Tunisie | June 1–July 12 | |
| 1984 | Blood Wedding Flowers Bloom Even on Windy Days | 피의 결혼 바람부는 날에도 꽃은 피네 | Mother | Festival International du Theater, Asti, Italy | June 1–July 12 | |
| 1984 | Flowers Bloom Even on Windy Days | 바람부는 날에도 꽃은 피네 | Mother | Literary Theater | June 1–18 | |
| 1984 | Flowers Bloom Even on Windy Days | 바람부는 날에도 꽃은 피네 | Mother | Theater des Nations, Nancy, Epinal, Metz | June 18–22 | |
| 1984 | Flowers Bloom Even on Windy Days | 바람부는 날에도 꽃은 피네 | Mother | Maison des Cultures du Monde, Paris | June 24–27 | |
| 1984 | Flowers Bloom Even on Windy Days | 바람부는 날에도 꽃은 피네 | Mother | Festival International du Theater Hamamett, Tunisie | July 1–6 | |
| 1984 | Flowers Bloom Even on Windy Days | 바람부는 날에도 꽃은 피네 | Mother | Festival International du Theater, Asti, Italy | July 9–12 | |
| 1985 | Blood Wedding | 피의 결혼 | Mother | Calazon Theater Festival in France | | |
| 1985 | Blood Wedding | 피의 결혼 | Mother | Barcelona Theater Festival in Spain | | |
| 1985 | Flowers Bloom Even on Windy Days | 바람부는 날에도 꽃은 피네 | Mother | Munyae Theater Seoul | June 12–15 | |
| 1985 | Flowers Bloom Even on Windy Days | 바람부는 날에도 꽃은 피네 | Mother | Japan | June 16–20 | |
| 1985 | Flowers Bloom Even on Windy Days | 바람부는 날에도 꽃은 피네 | Mother | Barcelona Theater Festival in Spain | June 16–20 | |
| 1985 | Flowers Bloom Even on Windy Days | 바람부는 날에도 꽃은 피네 | Mother | Calazon Theater Festival in France | June 16–20 | |
| 1985 | A Country as Far Away as the Sky | 하늘만큼 먼 나라 | | Culture and Arts Center Grand Theater | Sep 12–17 | |
| 1985 | A Country as Far Away as the Sky | 하늘만큼 먼 나라 | | Culture and Arts Center Grand Theater | Oct 20 | |
| 1985 | Egg | 달걀 | Margis (second wife) | Culture and Art Hall Small Theater | Oct 18–31 | |
| 1986 | Women in Crisis | 위기의 여자 | Monique | Small Theater Sanullim | April 1–30 | |
| 1986 | Where and How Shall We meet? | 어디서 무엇이 되어 만나랴 | Ondal's mother | Culture and Art Hall Grand Theater | Oct 8–12 | |
| 1986 | Where and How Shall We meet? | 어디서 무엇이 되어 만나랴 | Ondal's mother | Jeonbuk Student Centre | Nov 5 | |
| 1987 | Impossible Impossible | 불가불가 | actor in the play | Culture and Art Hall Small Theater | Sep 7–Oct 3 | |
| 1988 | If the Rooster Doesn't Crow, Even a Hen | 수탉이 안 울면 암탉이라도 | | Culture and Art Hall Small Theater | May 4–10 | |
| 1988 | Blood Wedding | 피의 결혼 | Mother | Culture and Art Hall Small Theater | Aug 27–Sep 5 | |
| 1988 | Blood Wedding | (1988) 문화예술축전 서울국제연극제; 피의 결혼 | Mother | Wonju KBS Public Hall | Oct 15–28 | |
| 1989 | Defeating the Mount Geumgang Tiger | 금강산 호랑이 물리치기 | Korean dance instructor | Culture and Art Hall Small Theater | Aug 13–16 | |
| 1989 | Thieves' Carnival | 도적들의 무도회 | | Ho-am Art Hall | Oct 20–29 | |
| 1990 | 'night, Mother | 굿나잇, 마더 | Selma Cates (Mother) | | Feb 6–March 10 | |
| 1990 | Thieves' Carnival | 도적들의 무도회 | | Lotte World Arts Theater | March 3–17 | |
| 1990 | The House of Bernarda Alba | 베르나르다 알바의 집 | Bernarda Alba | National Theater Small Theater | April 5–19 | |
| 1990 | Chuseok is Bright and Sweet | 한가위 밝은 달아 | Mother | Culture and Art Hall Grand Theater | Sep 1–6 | |
| 1990 | The Bald Soprano | 대머리 여가수 | Echo | Culture and Art Hall Small Theater | Oct 5–18 | |
| 1991 | The Feast of the Followers | 따라지의 향연(饗宴) | Echo | Grand Theater of the Arts Center | Feb 1–7 | |
| 1991–1992 | Mom Discovered the Sea When She Was Fifty | 엄마는 오십에 바다를 발견했다 | Mother | Small Theater Sanullim | Dec 24–Feb 9 | |
| 1992 | Agnes of God | 신의 아그네스 | Director Miriam | Small Theater Sanullim | April 4–19 | |
| 1993 | Hamlet | 햄릿 | Clown | the Jayu Theater Company | March 13 to 21 | |
| 1993 | Hamlet | 햄릿 | Clown | France's Rollpoint Theater | April | |
| 1993 | Hiroshima My Love | 내사랑 히로시마 | Female | Hyundai ToArt Hall | Oct 13–Nov 21 | |
| 1994 | What happened to that sister? | 그 자매에게 무슨 일이 일어났나? | Jane Hutson | Hakjeon Small Theater | Feb 24–March 31 | |
| 1994 | Shaman Island | 무녀도 | Shaman | Seoul Arts Center CJ Towol Theater | July 2–17 | |
| 1994 | Park Jung-ja's November Waltz | 박정자의 11월의 왈츠 | | Experimental Theater in Apgujeong-dong | Oct 27 | |
| 1995 | Blood Wedding | 피의 결혼 | Mother | Seoul Arts Center Jayu Theater | May 13–21 | |
| 1995 | Blood Wedding | 피의 결혼 | Mother | Sambaek Theater in Tokyo, Japan | June 7–11 | |
| 1995 | Blood Wedding | 피의 결혼 | Mother | Wilshire Ebell Theater in LA, USA | June 13–14 | |
| 1995 | Blood Wedding | 피의 결혼 | Mother | Caracas World Theater Festival in Venezuela | June 23–25 | |
| 1995–1996 | Teresa's dream | 테레사의 꿈 | Teresa | Small Theater Sanullim | Dec 1–Feb 4 | |
| 1996 | The Feast of the Followers | 따라지의 향연 | Concetta | Yonkang Hall | Mar 10–Jin 16 | |
| 1997 | The woman, the strong mother | 그 여자 억척어멈 | Mother | Academic Blue | April 8–July 6 | |
| 1998 | Citizen's Theater - Special Feature: Korean Ahn Jung-geun | 시민연극 - 특집·대한국인 안중근 | Jo Maria | Culture and Arts Center Grand Theater | Oct 2–3 | |
| 1998 | Mom Discovered the Sea When She Was Fifty | (제1회) 엄마는 오십에 바다를 발견했다 | Mother | Naju Dongshin University | Oct 28–Nov 2 | |
| 1998 | Mom Discovered the Sea When She Was Fifty | (제1회) 엄마는 오십에 바다를 발견했다 | Mother | Namdo Culture and Arts Center | Oct 28–Nov 2 | |
| 1998 | A Story of Success | 출세기2 | Park Jeong-ja | Daehakro Arts Center Grand Theater | Dec 12–20 | |
| 1999 | Mom Discovered the Sea When She Was Fifty | 엄마는 오십에 바다를 발견했다 | Mother | Small Theater Sanullim | Jan 21–March 28 | |
| 1999 | Phèdre | 페드라 | Phèdre | Small theater of Daehakro Arts Center in Seoul. | June 1 to 27 | |
| 1999 | (23rd) Seoul Theater Festival: Lee Byung-bok’s Ot-Gut - Sal | (제23회) 서울연극제 : 이병복의 옷굿 - 살 | Ophelia | Culture and Arts Center Grand Theater | Oct 2–3 | |
| 1999 | Lee Byung-bok’s Ot-Gut - Sal | 이병복의 옷굿 - 살 | Ophelia | Culture and Arts Center Grand Theate | Oct 2–3 | |
| 1999 | The Bald Soprano | 대머리 여가수 | Echo | Human Theater | Oct 22–Nov 28 | |

### Theater (2000-present)

Theater plays performances :
| Year | Title | Title | Role | Theater | Date | Ref. |
| Year | English | Korean | Role | Theater | Date | Ref. |
| 2003 | 19 and 80 | 19 그리고 80 | Maude | Jeongmiso, Daehak-ro Installation Theatre | Jan 9–April 20 | |
| 2003 | Mom Discovered the Sea When She Was Fifty | 엄마는 오십에 바다를 발견했다 | Mother | Sanullim Small Theater | Sep 25–Nov 23 | |
| 2004 | 19 and 80 | 19 그리고 80 | Maude | Jeongmiso, Daehak-ro Installation Theatre | Jan 9–April 29 | |
| 2004 | Blood Wedding | 피의 결혼 | Mother | Dongsung Hall of the Dongsung Art Center in Daehakro, Seoul | Dec 3–31 | |
| 2005 | Woodangtangtang, Grandma's Room | 우당탕탕, 할머니의 방 | Grandma | National Jeongdong Theatre (Seoul) | April 15–May 15 | |
| 2005 | Mom Discovered the Sea When She Was Fifty | 엄마는 오십에 바다를 발견했다 | Mother | Sanullim Small Theater | Aug 2–Sep 25 | |
| 2005 | Woodangtangtang, Grandma's Room | 우당탕탕, 할머니의 방 | Grandma | Seongnam Arts Center Ensemble Theater | October 27-30 | |
| 2006 | 19 and 80 | 19 그리고 80 | Maude | Woorim Cheongdam Theatre | Jan 9– Feb 19 | |
| 2006 | The feast of the following: original title Miseria e nobiltà | 따라지의 향연:원제 Miseria e nobiltà | Biase | Arko Grand Theater in Dongsung-dong, Daehakro, Seoul | Jun 28–July 9 | |
| 2006 | Mom Discovered the Sea When She Was Fifty | 엄마는 오십에 바다를 발견했다 | Mother | Sanullim Small Theater | July 25–Aug 27 | |
| 2007 | Agnes of God | 신의 아그네스 | Mother Miriam Ruth (Anna Maria Burchetti) | National Jeongdong Theatre Seoul | Jan 9–Feb 7 | |
| 2007 | Agnes of God | 신의 아그네스 | Mother Miriam Ruth (Anna Maria Burchetti) | Seongnam Art Center | March 2–4 | |
| 2007 | Mom Discovered the Sea When She Was Fifty | 엄마는 오십에 바다를 발견했다 | Mother | Sanullim Small Theater | April 12–May 27 | |
| 2007 | Agnes of God | 신의 아그네스 | Mother Miriam Ruth (Anna Maria Burchetti) | Seoul Arts Center Jayu Small Theater | Dec 8–30 | |
| 2008 | Agarwood | 침향 (沈香) | Old mother | Arko Arts Theatre Grand Theatre | June 11–29 | |
| 2009 | Mom Discovered the Sea When She Was Fifty | 엄마는 오십에 바다를 발견했다 | Mother | Sanullim Small Theater | May 7–Jun 6 | |
| 2009 | Where and What to Meet | 어디서 무엇이 되어 만나랴 | Ondal's mother | Myeongdong Arts Theatre | July 10–26 | |
| 2009 | Mom Discovered the Sea When She Was Fifty | 엄마는 오십에 바다를 발견했다 | Mother | Pyeongchon Art Hall | Oct 29–31 | |
| 2010 | Mom Discovered the Sea When She Was Fifty | 엄마는 오십에 바다를 발견했다 | Mother | Sanullim Small Theater | May | |
| 2010 | I Am You | 나는 너다 | Maria Jo | National Theater Sky Theater | July 21–August 22 | |
| 2011 | Oedipus | 오이디푸스 | Dysart | Myeongdong Arts Center | January 20 to February 13 | |
| 2011 | I Am You | 나는 너다 | Maria Jo | Seoul Arts Center CJ Towol Theater | May 17–June 6 | |
| 2011 | I Am You | 나는 너다 | Maria Jo | Jeju Art Center | June 24–25 | |
| 2011 | World National Theater Festival - Sand Station | 모래의 정거장 | | National Theater KB Youth Sky Theater | Oct 7–8 | |
| 2011 | Sand Station | 모래의 정거장 | | Busan LIG Art Hall | Oct 15–16 | |
| 2011 | Sand Station | 모래의 정거장 | | National Theater Company Baek Seong-hee and Jang Min-ho Theater | Oct 22-23 | |
| 2011 | Oedipus | 오이디푸스 | Dysart | Myeongdong Arts Center | November 8 to 27 | |
| 2012 | 19 and 80 | 19 그리고 80 | Maude | Samil-ro Warehouse Theater | Dec 14–30 | |
| 2013 | Antigone | 안티고네 | Tyresias Beater | Seoul Arts Center CJ Towol Theater | April 15–28 | |
| 2013 | Chekhov in 14 — Swansong | 14인 체홉 — 백조의 노래 | Vasily Vasilyevich Svetlovidov | Project box view | June 18–July 7 | |
| 2013 | Chekhov in 14 — Swansong | 14인 체홉 — 백조의 노래 | Vasily Vasilyevich Svetlovidov | Daehakro Arts Theater Small Theater | Aug 17–22 | |
| 2013 | Dante's New Song | 단테의 신곡 | Francesca | National Theater of Korea Haeoreum Theater | Nov 2–9 | |
| 2014 | Eternal Goodbye Spirit Goodbye | 영영이별 영이별 | Queen Jeongsun | Gangdong Arts Center Small Theater Dream | Feb 21 | |
| 2014 | Dante's New Song | 단테의 신곡 | Francesca | National Theater Haeoreum Theater | Oct 31–Nov 8 | |
| 2015 | Harold and Maude | 해롤드 & 모드 | Maude | National Theatre Daloreum Theatre | Jan 9–Mar 1 | |
| 2015 | Forever Farewell, Forever Farewell | 영영이별 영이별 | Queen Jeongsun | Sanullim Small Theater | July 16–26 | |
| 2015 | The 1st Monodrama Festival: Forever Farewell, Forever Farewell | 제1회 모노드라마 페스티벌 | Queen Jeongsun | Namhansanseong Art Hall Small Theatre | September 11 | |
| 2015 | Three Tall Women | 키 큰 세 여자 | A | Myeongdong Arts Theatre | October 3 to 25 | |
| 2016 | Hamlet | 햄릿 | Actor 2 | National Theater Haeoreum Theater | July 12–August 7 | |
| 2017 | Forever Farewell, Forever Farewell | 영영이별 영이별 | Queen Jeongsun | Asian Culture Centre Theatre 1 | May 27–28 | |
| 2017 | The Story of Three Women - Gangneung | 세 여자 이야기－강릉 | Women | Myeongju Art Madang | June 3–8 | |
| 2017 | Forever Farewell, Forever Farewell | 영영이별 영이별 | Queen Jeongsun | Munhwa Station Seoul 284 3rd class waiting room | June 15–16 | |
| 2018 | Forever Farewell, Forever Farewell | 영영이별 영이별 | Queen Jeongsun | main auditorium of Government Complex Building 6 at Sejong Government Complex | Feb 27 | |
| 2018 | The Andersen's fairy tale play "Mother's Story" | 안데르센 동화연극 "엄마 이야기" | Mother | Gwangmyeong | November | |
| 2019 | In My Dream, I Was Tender | 꿈속에선 다정하였네 | Lady Hyegyeonggung | Guro Art Valley Arts Theatre | March 21–23 | |
| 2019 | Forever Farewell, Forever Farewell | 영영 이별 영 이별 | Queen Jeongsun | JCC Art Centre Concert Hall | April 13 | |
| 2019 | The drama concert of actress Park Jeong-ja, titled "In My Dream, I Was Tender" | 연극배우 박정자의 드라마 콘서트 "꿈속에선 다정하였네" | Lady Hyegyeonggung | Jeongmiso, an installation theatre | March 2–12 | |
| 2019 | The drama concert of actress Park Jeong-ja, titled "In My Dream, I Was Tender" | 연극배우 박정자의 드라마 콘서트 "꿈속에선 다정하였네" | Lady Hyegyeonggung | Ewha Womans University Samsung Hall | December 5 | |
| 2021 | Harold and Maude | 해롤드 & 모드 | Maude | Daechi Art Hall, KT&G Sangsang Madang, Daechi-dong, Gangnam-gu, Seoul | May 1 to 23 | |
| 2021 | In My Dream, I Was Tender | 꿈속에선 다정하였네 | Lady Hyegyeonggung | Ansan Arts Center | May 29 | |
| 2022 | Merry Christmas, Mom | 메리크리스마스, 엄마 | Son | JTN Art Hall 1 | February 24 to 27, 2022 | |
| 2022 | Hamlet | 햄릿 | Actor 2 | National Theater Haeoreum Theater | July 13–August 13 | |
| 2022 | In My Dream, I Was Tender | 꿈속에선 다정하였네 | Lady Hyegyeonggung | Incheon Three Bowl | Sep 28 | |
| 2022 | In My Dream, I Was Tender | 꿈속에선 다정하였네 | Lady Hyegyeonggung | National Theater Daloreum Theater | Oct 26 | |
| 2022 | Love Letter | 러브레터 | Melissa | Seoul Arts Center Jayu Theater | Oct 6–Nov 13 | |
| 2023 | Jangsu Store | 장수상회 | Im Geum-nim | Doosan Art Center Yonkang Hall | April 21–May 21 | |
| 2023 | Jangsu Store | 장수상회 | Im Geum-nim | Jeju Arts Center Grand Theater | July 15 | |
| 2023 | Jangsu Store | 장수상회 | Im Geum-nim | Incheon Art Hall Grand Performance Hall | Dec 8–9 | |

## Accolades
### Awards and nominations

Award and nomination received :
| Year | Award ceremony | Category | Nominee / Work | Result |
| 1970 | 6th Baeksang Arts Awards | Best Actress Award — Theater | Passing for Black | Won |
| 1970–1971 | 7th Dong-A Theatre Award | Best Actress | Where and How Shall We meet? | Won |
| 1972 | 8th Baeksang Arts Awards | Grand Prize — Theater | The Ballad of the Sad Café | Won |
| 1975 | 1st Younghee Theater Award | Best Actress | Park Jeong-ja | Won |
| 1975 | 14th Grand Bell Awards | Best Supporting Actress | Promise of the Flesh | Won |
| 1984 | 23rd Grand Bell Award | Best Supporting Actress | The MA-NIM | Won |
| 1985–1986 | 22nd Dong-A Theatre Award | Best Actress Award | Jayu Theater's play "Egg" and Sanullim's play "As Far as the Sky" | Won |
| 1986 | 8th Seoul Dramatic Evaluation Group Award | Best Actress Award | Jayu Theater's play "Egg" and Sanullim's play "As Far as the Sky" | Won |
| 1986–1987 | 23rd Dong-A Theatre Award | Best Actress Award | Sanullim's play Woman in Crisis | Won |
| 1987 | 23rd Baeksang Arts Awards | Best Actress Award in Theatre | Sanullim's play Woman in Crisis | Won |
| 1987 | 9th Seoul Dramatic Evaluation Group Award | Best Actress Award in Theatre | Sanullim's play Woman in Crisis | Won |
| 1988 | Korean Theater Arts Award | Best Actress Award in Theatre | Blood Marriage | Won |
| 1989 | 25th Baeksang Arts Awards | Popularity Award — Theatre | Blood Marriage | Won |
| 1990 | 26th Baeksang Arts Awards | Theatre Grand Prize | 'night, Mother | Won |
| 1990 | 26th Baeksang Arts Awards | Best Actress Award | 'night, Mother | Won |
| 1991 | Seoul Theater Festival | Best Actress Award | Mom Discovered the Sea at 50 | Won |
| 1991 | Love Play Festival | Best Actress Award | Mom Discovered the Sea at 50 | Won |
| 1997 | 7th Lee Hae-rang Theatre Award | Theatre Award | Park Jeong-ja | Won |
| 2000 | Ewha Womans University Department of Media and Public Relations Film Award | Proud Media and Public Relations Video Award | Park Jeong-ja | Won |
| 2001 | Jinmyeong Girls’ High School Alumni Association | Proud Jinmyeong Impression Award | Park Jeong-ja | Won |
| 2001 | MBC Hall of Fame | Theatre Artist Award | Park Jeong-ja | Won |
| 2005 | 14th Seoul Children's Theater Awards | Best Actress Award | You Are Special | Won |
| 2011 | Korea Theater Award | 4th Special Award | Park Jeong-ja | Won |
| 2012 | Paradise Awards | 8th Culture and Arts Category | Park Jeong-ja | Won |
| 2013 | Samsung Happiness Awards | Women's Creation Award | Park Jeong-ja | Won |
| 2016 | Shining Ewha | Impression Award | Park Jeong-ja | Won |
| 2014 | 4th Beautiful Artist Award | Theatre Artist Award | Park Jeong-ja | Won |
| 2020 | 7th E-Daily Culture Awards | Achievement Award | Park Jeong-ja | Won |
| 2020 | 3·1 Culture Award for Art | 3·1 Culture Award for Art | Park Jeong-ja | Won |
| 2023 | 21st Proud Ewha People | 21st Proud Ewha People | Park Jeong-ja | Won |

### State honors

Name of country, award ceremony, year given, and name of honor :
| Country | Award Ceremony | Year | Honor | Ref. |
| Seoul Metropolitan City | Seoul Metropolitan City Cultural Award | 1998 | Cultural Award — Theater | |
| South Korea | Culture Day Ceremony | 2007 | Bogwan Order of Cultural Merit | |

### Listicle

Name of publisher, year listed, name of listicle, and placement :
| Publisher | Year | List | Placement |
| DongA Ilbo | 2003 | [Best in our field selected by professionals] Plays and musicals — Best Actress | 1st |
| Asia Today | 2013 | Actors in their 60s and 70s who dominate the theater stage | Top 3 |
| Book & People Written by Jang Won-jae | 2015 | Who is an actor | Top 15 |
| Korean Theater | 2019 | 34 Leading Korean Theater Artist | Top 34 |