Yuyangri of Yangju is a place where there used to be a government office. The people of Yangju adapted the Bonsandae Play of Seoul around 1800, and the play grew as a source of the community culture. This place served as the government office or private agency according to the times,and its role changed according to the people\'s religion and occupation. The relationship between the transmission group of the Masked Play and the community according to the times is as follows: First, the 19thcentury was the period in which Sandae Nori was established as a community culture in relationship with the government office and the private agency. The play was led by low－level workers of the government office and merchants. It was first performed on Buddha\'s Birthday, and a shaman played an important role in the presentation. Therefore, in the background of cultural receptiveness, the 19th century was the period when the Masked Play was transformed into a unity play for the beginning of the New Year. Second, in the early 20th century, the Masked Play was performed by private individuals and had commercial characteristics. The 20thcentury was the period in which it was presented as the center of the community culture. During this period, the influence of the government weakened, but the commercial characteristics were reinforced. As a result, an open－air market led by the merchants was established. Also, the play was performed on many different days throughout the year; the religious characteristics weakened and the secular pleasure characteristics began to emerge. Sometimes, an open－airperformance was tried, but the Masked Play of Yangju still played an important role as a unity play for the beginning of the year. Third, the performance at the beginning of the year was suspended by Japan in 1930s, and the well－to－do villages changed into poor farm villages. However, the 1930s was the period in which the Masked Play was transformed into a play with an excess of mirth due to the internal need of the village people. Fourth, from liberation to the early 1960s was the period in which restoration and suspension were repeated, and the ability to transmit weakened significantly. The attempt to restore the play as a commercialperformance was damaged by the war after liberation. For this reason, the Buylsandae Play lost the spontaneity of presentation. As a result, the Masked Play became less important to the community culture of each village unit. Fifth, since it was appointed as a cultural asset in 1964, Byulsandae Play has been presented systematically and the number of performances for foreigners has increased. However, its reputation as a community culture for the village people has become almost lost because of an increase in the influential power of the government and the weakening of the spontaneous ability of the presentation. In the end, from the diachronic point of view, the future of the Masked Play of Yangju has to find a new way to survive through the exploration of an appropriate relationship between the government and Yangju, and the establishment of a new type of regional foundation.