Pansori and Talchum are similar in terms of their traditions as oral literature based on class or regional community culture, and also as representatives of cultural genres in the transitional period to modernity. However, Pansori and Talchum played different roles in the history of Korean theatre, by being integrated into two contrasting movements, namely the establishment of modern drama, and its disintegration. This paper attempts to distinguish the differential statuses of Pansori and Talchum by focusing on the relationships between performative practices of theatre and community culture. Methodologically, this paper formulated a theory, modifying the performance theory of Richard Schechner. The theory analyzes transformation of the participants in rituals and plays at three different levels－i.e., theatrical space, performance space, and ordinary space. In this theory, rites of passage are the most notable form of performance to accomplish “transformation,” whereas modern play is the genre in which “transportation” occurs. In this paper, a concept of “periodic transformation” was established, through repetitive theatrical performances which continuously reaffirm existing community culture, while ultimately pursuing a “transformation” of the participants. Pansori and Talchum, originally had begun belonging to rituals whose objective was transformation, developed into folk arts, and eventually into performing arts for public entertainments. In the process, Pansori evolved into a form of “high art/culture” which required high level of musical sophistication. Pansori later developed into a modified genre, Changgeuk which was a modern form of performance in which the performers and spectators alike experienced “transportation.” The evolution of Pansori into Changgeuk led to the loss of its characteristics grounded on community culture. In contrast, Talchum maintained its roots in community culture in terms of both its performative forms and esthetical appreciation; in exchange, it was not involved in the movement for establishment of modern drama. During the period of disintegration of modern drama, a movement began to restore the connection between theatre arts and community culture. The strength of Talchum as an art form rooted in community culture came to be recognized, as a consequence of the vigorous mobilization within theatre art to reinstate the ideological basis and forms of folk art. Popularization of Talchum as Madanggeuk which integrated theatrical space, performance space, and ordinary space into one open field allowed performers and spectators to directly communicate with each other. The community cultures that reappeared in during the disintegration of modern drama differ however from the elements of community culture in medieval and modern transitional periods. The community cultures were formed on the basis of shared experiences of regional communities, class, or occupations in the theatrical arts of medieval and modern transitional periods. On the other hand, Madanggeuk movement pursued the community cultures ideologically as a part of social movements.