Nowadays, pansori has begun to gain some recognition in France. First, this can be accredited to our pioneers such as, Théâtre des Nations (Korean Folk Art Troup, Chunhyang, 1960) and Maison des Cultures du Monde (“Pansori Night”, Chunhyang again, 1982). However, it is important to analyze their shortcomings in spreading the genre in a sufficient manner. In France the Korean wave Hallyu, began around the year 2000, due to the increase in popularity of K-dramas, K-pop, and cinema. This recognition played a role in the acknowledgment of traditional performing arts such as pansori. After Im Kwon-taek's film, “The Song of the Faithful Chunhyang” (Festival de Cannes, 2000), the audience was able to experience the complete performance of pansori with subtitles for the first time at the Festival de l'Imaginaire (2001) and the Festival d'Automne in Paris (2002). We were then able to see how an audience gradually developed around the new subtitled complete performances. From the organization of minyo and pansori workshops at the Korean Cultural Centres in Paris (since 2007) and Brussels (since 2013), to the creation of the K-Vox/Korean Voice Festival (2012), these events and the links with Korean culture, created an atmosphere for Francophones to learn pansori. Up until today, the types of pansori that have been introduced with subtitles are classic pansori (including the rediscovery of “Sugyeongnangjaga”), modern pansori (Lee Jaram, IpKoaSon studio), and changgeuk (“Mrs. Ong”). We will look at how they were communicated through the perception of the audience. The final step is to think about how we could broaden this audience and help deepen their understanding by opening informational lectures before performances, publishing pansori books with increased explanation, or by performing translated French versions.