In 1975, she was honored with the Grand Bell Awards for Best Supporting Actress for her role in director Kim Ki-young's "The Promise of the Flesh."

In addition to these accolades, Park has showcased her acting skills in other notable films such as "Growing Generously," "Anemone," and "Widow's Dance.

"[3] Since its establishment in 2005, she has served as chairman of the board of directors of the Korea Activist Welfare Foundation and has been supporting medical and living expenses for theater practitioners.

[5] Park Jeong-ja, the youngest of five children, was born on March 12, 1942, in Sorae Port, Namdong-gu, Incheon, during the Japanese colonial period.

Her father ran a brewery wholesale business called Cheonil Sanghoe in Sorae Port and also served as the village head.

In that era, television was non-existent, and radios were only found in one out of every ten households, making it a tremendous privilege to have the opportunity to attend the theater and experience a live performance.

[3] In 1962, during her second year as a journalism student, Park auditioned for Jean Racine's Phèdre produced by The Ewha Womans University College of Liberal Arts Theater Department (이화여대 문리대 연극부).

'[11] The experiences laid a solid foundation for her career, thanks to the unique nature of The Ewha Womans University College of Liberal Arts Theater Department (이화여대 문리대 연극부).

[7] Upon the request of the university's president, Kim Gap-soon (1914-2005), Park still practiced theater with students after work and perform on stage.

Jayu's first performance was a play called "The Feast of the Followers" by Italian playwright Eduardo De Filippo (original title: Poverty and Nobility).

Jayu was the starting point where I, Park Jeong-ja, an aspiring actress, could have the space and time to become a star in the theater world.

[13]During her time with Jayu, Park had the privilege of participating in remarkable productions such as "The Feast of the Followers," "The Diver Ashore," "Murder Fantasy," "Marius," "The Medal of the Dead," "Song of the Sad Cafe," "Confessions for a Black Prostitute," "Where and What Will We Become?," "Couple Practice," and approximately 30 other works.

In the original production at Myeongdong National Theater in 1970, as well as in the revivals in 1974 and 1986, Park Jeong-ja portrayed the role of "On Dal's Mother."

Throughout the play, she remained silent until her son, On Dal, died in battle and her daughter-in-law, Princess Pyeonggang, lost her life opposing the rival political faction.

[13] Park had an opportunity to reprise her role as Mother in play Blood Wedding by Federico García Lorca during an outdoor performance at the Malaga International Theatre Festival in Spain, which was the hometown of the playwright.

[15] In 1986, Lim Young-woong was planning to perform Korean adaptations of Simone de Beauvoir's play "Women in Crisis" to commemorate the first anniversary of Sanullim Theater opening.

However, CEO Lim Young-woong initially rejected the idea, expecting a more renowned actress for the role, which deeply wounded Park's pride.

The audience was indignant in real time at the lines spoken by Cho Myeong-nam, who played her husband, and when Park Jeong-ja complained, the housewives sobbed.

The relationship between two great masters of the Korean theater world, Kim Jeong-ok and Lim Young-woong, was strained because neither of them wanted to give up on Park Jeong-ja.

Park revealed that the clash between the two directors made her feel trapped in the middle, making it the most challenging moment in her career.

It had been a long time since such an unprecedented hit had emerged, and the leading actress found herself torn between two extremes, contemplating whether to step down.

Kim Jeong-ok, who had not even made eye contact with Park Jeong-ja, resolved the conflict after her first performance by saying, "As expected, you shine on stage.

In front of the locked door, Park's character alternated between soothing her daughter, pleading with her, shouting at her, venting her anger, and ultimately collapsing in despair when the gunshots rang out.

[20] In that same year, The "Flower Bouquet Society," was established, starting with 17 people who love Park Jeong-ja's branded plays such as "Mom Discovered the Sea at Fifty" and "Woman in Crisis," The 12 members already form a group as early as 1987.

Members of the Flower Bouquet Society pay an entrance fee of one million won and purchase four theater tickets per person whenever Park Jeong-ja has a performance.

After the theater moved to its new location, a performance of their popular experimental repertoire, Agnes of God, was staged in April to celebrate the opening.

[26][27] Park Jeong-ja's path crossed with her future husband thanks to her friend Lee Ji-seon, a reporter of Women Donga.

Alongside their colleagues Choo Song-woong and Ham Hyun-jin, member of the theater group Jayu, they passionately planned and performed the play "Friendship."

Their collaboration and shared experiences forged a deep bond, and Park and Lieutenant Lee Ji-song began their relationship.

She was worried about Lee's career choice of transitioning from interior design to the advertising industry, and she believed that his decision was solely motivated by his desire to marry Park.