This study regarded the Korean mask dance as one of the anthropological products and made a start at the potential establishment of "creative restoration" concept to restore the so-called "Miyal Scene" of the Ocheong Chaerokbon. For scene segmentation based on the stage performance units, the study set the criteria of "unit scene" segmentation as events perceived by the lines, acts of characters, entrance and exit of a character, and beginning and stop of dance, song, and music. Scenes of stage performance units were turned into sentences by combining lines with texts. The investigator took all the theatrical elements characterizing the stage performance of Miyal Scene as theatrical devices and described them. Finally, the study described theatrical significance in the dimension of the field since it would present the performance situations more clearly. The results are summarized as follows: The theatrical device of the Miyal Scene has a basic axis in the triangular relations among Miyal, Yeonggam, and Yongsansamgaedoelmoeri-woman. Lines or conversation reactions were the combinations of dances and songs based on Ungdoengi-choreography, Sinayi-music, and Gutgoeri-beat, developing in a repeating symmetrical structure among scenes. The format of lines being exchanged between the court musician and character was particularly used. Based on the basic axis of triangular relations, Miyal Scene creates a lively atmosphere with exciting, vigorous, and firm beats through conversation reactions in a repeating symmetrical structure combined with the Ungdoengi-choreography, Sinayi-music, and Gutgoeri-beat. It also wraps up the finale by wishing for the well-being of the community members with a scene that reaches an ecstatic state and delivers vitality with excitement.