In South Korea, workers’ theatre is often considered outdated and unsuited for the postmodern era of hybridity and diversity because of its crude, ideology-oriented slogans. Thus the success of Hamlet for Only Nine Days (2013), featuring workers laid off from the CortCortec factory in South Korea as actors, is highly exceptional. This article presents an analysis of the characteristics of Hamlet for Only Nine Days as documentary theatre where various experiences and representations of reality mix with fiction, and reviews its political significance.