There are many various practices of educational drama in Korea. With the explosion of those practices, it is timely useful to interpret these practices to understand what they really are. Borrowing ‘structure and spontaneity’ which represent O’Neill’s ‘process drama’, this study analyses Slade’s ‘child drama’, Way’s ‘exercise’, Heathcote’s ‘mantle of the expert’, Sadari dramatic play, Haemaru dramatic play, Sogubnori’s educational drama and performing theatre using dramatic play. Process drama is structured with 'living through' approach, text, and theatrical devices to help students to experience spectatorship, transformation, ritual and so forth. Child drama employes story, music or rhythm to stimulate students' physical movement to help students experience the significance of form. Excercise aims for students' growth for whole person so that it makes use of exercises for imagination, speaking, sensitivity, physical self, emotion, intellect, concentration and senses. Mantle of the expert is structured with living through approach, teacher-in-role, taking role of expert to help students acquire knowledge and skills of curriculum. Sadari dramatic play is made in a way to strengthen or facilitate dramatic play. Haemaru dramatic play pursues 'hung' or 'shinmyoung puri' so that they empoyes 'changdan' 'breathing' whole participation and so on. Sogubnori’s educational drama aims at students' learning and therefore, it controls and manipulates students' play. Performing theatre using dramatic play proceeds with students' play. Having analyses these practices, it is found that they all share spontaneity but structure differs according to teachers' perspectives. Besides such perspectives affect the relationship between structure and spontaneity. In exercise, mantle of the expert, Sogubnori’s educational drama, structure is more emphasized than spontaneity. Spontaneity is controlled or governed by structure. However, in child drama, process drama, Sadari dramatic play, Haemaru dramatic play, performing theatre using dramatic play, structure and spontaneity is well balanced or spontaneity is more stressed. Having analysed these practices, it is uncovered that exercise, mantle of the expert and Sogubnori’s educational drama are similar in terms of facilitating learning through play but other practices are different in terms of their viewpoint of aesthetic experiences. Acknowledging such diversity, there is a question that how such diversity can be gathered in the filed of educational drama. The common ground is spontaneous and voluntary play. That is to say, it is based upon the belief that human nature is naturally good.