There are increasing debates on the season-based system of performing arts among public theaters these days, because of high public expectations on the roles of public theatres amid the changing surroundings of performing arts industry. Korea’s representative theatres, such as Seoul Art Center, Seongnam Art Center, Myeongdong Theater, have started to show interest in the 'Gongyeon Seasonje (season program system)' after the National Theater of Korea adopted its full-scale seasonal system last year. The key to making a successful Gongyeon Seasonje (season program system) is selling packages of season tickets as many as possible through efficient marketing of high-quality programs. Establishment of ‘repertory system’ and ‘subscription system’ should be started first. The repertory system is necessary to producing high-quality programs, while the subscription system helps boost ticket sales. The two systems should work in tandem to create synergy effect. Domestic public theatres make focused efforts on developing better contents. Some theaters partly introduced the Gongyeon Seasonje since early 2000s. The National Theater of Korea adopted the system in 2012. But the theaters paid less attention to how to attract audiences and sell tickets. This study looks at measures to activate the 'Gongyeon Seasonje (season program system)' by promoting the 'subscription system'. It focused on the Gongyeon Seasonje (season program system) case of National Theater of Korea intensively to find out the originality and shortcomings of the system. The study also provides various cases of advanced countries. The attempts by the National Theater of Korea are yet to be assessed, since the 2012-2013 season program is still running. There will be better chances to make an overall assessment and find areas to improve. The Gongyeon Seasonje (season program system) has not been able to take root in Korea despite many proved merits of system. The recent initiation of National Theater of Korea has a long way to get to the orbits, though it is considered an important step forward. It is fortunate that the surroundings of our performing arts market are becoming fairly mature as to embrace the Gongyeon Seasonje (season program system). It will be hard to expect immediate changes, like more than half of a theater’s seats to be filled like those in Broadway and WestEnd theaters, but hopes are high that Korea will have its own Gongyeon Seasonje (season program system) and supportive subscription system adjusted for the country’s unique performing arts environment.