For defining Suryung, it is based on ``View of Revolutionary Suryung`` and ``theory OF Socio-political Living Body``. The core of view of revolutionary Suryung is to reveal the truth of Suryung`s position and its roles under the proletarian dictatorship system with Suryung, At the same time, he states Suryung, Party, and the People should be united into one to be loyal to Suryung, and relating works in return for the aim of the People should be created. Up to the present, there are plays of Suryung figuration such as 〈Thunder〉 (1946), 〈The mist clears away from mountains and rivers of the country〉 (Lee, Jong-soon, 1960), 〈Bocheonbo`s Torchlight〉 (Aggregate, 1971), 〈Under the Banner of Victory〉 (Aggregate, 1968), 〈New Morning of Revolution〉 (Aggregate, 1971), and 〈The Great Change-over〉 (Aggregate, 1973). revealed through the materials of North Korea. Among them, 〈Under the Banner of Victory〉 is the script of its performed play at Chollima National Theater in 1968, as well as the work adapted to the revolutionary play in the form of 〈Sunnwhangdang〉 in the play revolution of late 1970s. This play figures Suryung as ``Fatherly General`` as well as ``Excellent Commander`` among figuration types classified by Kim, Eun-jung. It is not sure the limit of the performance arts led to a number of creations on Suryung figuration literature and its films as well as many criticisms published, but there are only few pieces of plays in that area. In addition, due to the lack of videos which were actually performed with plays or plays of other Suryung figurations here in South Korea, it is regrettable to have some limit on the comprehensive analysis and its conclusion.