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2018.02.28 01:19

Statute of Limitations


Production: Salad Theater (www.salad.or.kr)

Performance Language: Korean, English

Year Created: 2018

Premiere: February 6, 2018

Playwriter & Director: Kyongju Park 

Length: 70 minutes

Genre: Live streaming contemporary post- drama theatre

Documentary Video & Reportage: Kyongju Park

Live Streaming Media Director: Sungsuk Suk 

Lighting Director:  Singh Anima

Sound Director: Hizon Gil

Live Streaming Camera: Minwoo Kim

Public relations: Anggahan Nassier 

Starring: De Mateo Lorna,  Youngju Ha , Joenic France, Kyongju Park


Synopsis

The characters in this play attempt to solve the puzzle behind the death of a female Vietnamese migrant that occurred 10 years prior.

Trần Thanh Lan came to Korea in January, 2008 as a marriage migrant but was forced to divorce 5 days later. While waiting for the divorce to be settled, she fell to her death from her apartment under unknown circumstances.

The death of Trần Thanh Lan caused uproar in Vietnam as her body was cremated without the consent of her family, sent to Vietnam by air cargo, and delivered to her mother via the local courier service. Her mother went to Korea to demand that the police investigate the true circumstances behind her daughter's death, but the police closed the case without conducting a proper investigation.

<#Statute of Limitations> is the result of 2 years of investigative research into some of the questions surrounding the incident following a visit in 2016 to Trần Thanh Lan's mother, Huỳnh Kim Anh, in Can Tho, Vietnam by playwright and producer, Kyongju Park.

The performance criticizes the fact that the initial investigation by the police at the time of Trần Thanh Lan's death 10 years ago was insufficient and failed to reveal the cause of her death as the sites and evidence that should have been preserved immediately after the incident had disappeared. Kyongju Park brings an investigation of the suspect-site to the modern stage. Video records relating to the incident and video recordings of interviews with the people directly involved are used in the performance.

2018 is the year that the statute of limitations of the suspects behind the death of Trần Thanh Lan expires.

In the words of Kyongju Park,

"Today, the suspects may be free, but Korean society is not free from its sense of debt to the deceased for failing to unearth the truth. It is my hope to bring peace to the soul of Trần Thanh Lan through this performance."

 

Plot

The police and chorus are preparing for an investigation together with the victim, Trần Thanh Lan. While laying out the evidence necessary for an investigation, the hidden stories of Trần Thanh Lan unfold. As the performance comes to conclusion, the sirens of police cars and an ambulance can be heard... Will the police be able to succeed in uncovering the crime committed by the suspect and bring him to the site of investigation? This work causes the audience to creatively fill in the missing pieces with an open ending.




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2015.07.25 22:19

Theater without actor

2013 New Concept Performance Art Series of Hanguk Performing Arts Center 

'Theater without Actor’


Live Experimental Theatre Made by Kyoung-ju Park(www.kyongjupark.com), a New Conceptual Artist, with Multicultural People'Theater without Actor' is an experimental theater selected by Hanguk Performing Arts Center as a special performance in part of interdisciplinary arts of a new concept performance art series, which covers a multicultural discourse through a live talk show. It is a kind of a 'making theater' that total four theatres of 'the Series of Unrespected Death' created by Kyongju Park based on real stories that she had covered while managing Salad TV, a multicultural broadcasting system, and performed by the Theatre Salad(www.salad.or.kr)

There will be several ENG cameras on the stage which looks like the one for broadcasting and that an announcer will lead a talk show. The talk show will be transmitted real time to the broadcasting system in an operating room and edited real time to be broadcasted for 120 minutes through a live channel titled 'Theater without Actor' of Ustream. Also, replies made by web users to the moving picture of Ustream will be shown real time in a screen on the stage. Audiences will have an opportunity to directly participate in discussion.

The Series of Unrespected Death that Kyongju Park, an artist, made with Salad, the first multicultural theater in Korea, is the series of creative performances covering the stories of Korean miners dispatched to Germany whom she had met while studying in the country, migrant workers residing in Korea whom she had met while covering the fire incident occurring in Yeosu Foreigners' Detention Center, a migrant woman who came to Korea through a brokerage of a human trafficking type international marriage and fell to death, and refugees in Korea whom she had met while covering their stories.

Kyongju Park made 'the persons who experienced the incidents' play as 'actors' on the stage on purpose in all performances of the series. Survivors from the fire in Yeosu Foreigners' Detention Center and the director of the counselling center in charge of their counseling, Korean male victims of international marriage, refugees in Korea, marriage migrant women, etc. participated in theatres to deliver 'the truths' of our era that audiences could feel uncomfortable to the audiences in a credible voice.

While the Series of Unrespected Death were performed, diverse episodes were created. Survivors from the fire incident who delivered their stories on the stage shook with anxiety and left the theater when watching the scene that migrant actors and actresses of Salad represented the fire after finishing telling their stories and did not come again. At that time, survivors just stayed uneasily in Korea without a visa. This performance had been played in front of diverse audiences in Offices of Education, Multicultural Centers, etc. One teacher watching the performance threw away a steel-barred window that actors grabbed because the teacher could not ignore actors' shouting "Open the Door" One audience watching a talk show of male victims of international marriage left the theater, saying that the audience was likely to vomit and another audience cried, listening to 'the letters sent to wives who left' that male victims read.

On the other hand, the Series of Unrespected Death have faced a harsh criticism. 'Acting but not acting' done by 'migrant actors and actresses and the persons experiencing incidents who were not good at delivering lines compared to Korean actors has been the most critical problem and a director's capability of completing performances with 'involved persons' not with 'actors and actresses' also was judged.

Kyongju Park defines the Series of Unrespected Death as the theatre without actors and actresses. The most important factor of theater is actor. However, if persons involved in incidents instead of expert actors or actresses who have been perfectly technically trained deliver their stories on the stage, is it called theater? Is 'theater without actors and actresses' possible? What is theater? What is art? Where is the borderline between art and life? Isn't it possible that life becomes closer to art and art becomes closer to life? Kyongju Park now wants to frankly talk with audiences about theatrical experiments and achievement that Salad, the first multicultrual theater in Korea, has done for last four years through ' 'Theater without Actor.'


-Theater without Actor-

'Theater without Actors and Actresses' is lively broadcasted through Ustream. (Broadcasting time: same as the running time)

http://ustre.am/14kgp  http://www.ustream.tv/channel/배우-없는-연극

Date: 8 pm on September 6th, 3 pm and 7 pm on September 7th, and 3 pm on September 8th in 2013

Location: Small hall in Arko Arts Theater, Hanguk Performing Arts Center

Host: Hanguk Performing Arts Center(www.koreapac.kr) , Salad(www.salad.or.kr)

Organizer: Salad, Undergroundartchannel

Writer/Planner/Director: Kyongju Park

Media director: Sungsuk Suk

Choreography: Kaseki Yuko

Music: Wolfgang in der Wiesche, Sato Yukie

Stage art: Jaesung Lee

Promotion: Hyoungju Park

Running time: 120 minutes

Translation: Hayan Jeun

Cast: Dashmaa Purey, Lorna de Matheo, Gyehwa Kim, Gobchangjeungol, Amarsaikhan Tserennadmid, Tsogtbaatar Uranchimeg, Baldez ma Gleiza, Gono Daiske, etc.

Ticketing: 02-3668-0007 www.hanpac.or.kr, Hanguk Performing Arts Center, Interpark, Salad

Sponsor: AGI SOCIETY, Ustream Korea

Contact: www.kyongjupark.com (saladboom@hanmail.net)

 



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2015.07.20 06:29

Creative Musical <Sunrunggus Hung>


Musical Play for multiculti understanding by Salad Theater. The creative musical whose main character is a youth of multicultural family speaks of difficulties of multicultural families from youth perspective. The musical introduce mongolian culture.

Production: Salad Theater (www.salad.or.kr)

Support: Shinhan Bank

Date: Nov. 2014

Place: Al & Haek Theatre Seoul

Writer: Kyongju Park

Director: Alice Park

Music: Gil Hizone

Coordinator: Sarangerel Suhbataar

Media Director: Sungsuk Suk

Camera: Dongmyung Park

Light Design: Jaesung Lee

Stage Design: Jeongim Song, Kyongju Park

Cast: Lorna de Mateo, Urna Ulanchimeg, Candy Ruan, Inyong Son, Byungsun Ryu, Anima Singh

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2015.07.20 01:22

여수 처음 중간 끝 2015 Yeosu, Beginning, Middle and the End

Live Broadcasting Theatre


Date: At 4:16 am/7:30 pm on February 11th (Wed), 2015 (Twice a day)  

Duration: 120 minutes

Location: Real time broadcasting via Ustream Korea 

Production: Salad Thater (www.salad.or.kr)

Producer: Kyongju Park 

Writer & Director: Kyongju Park (www.kyongjupark.com)

Choreography: Eunju Park, Anima Singh

Music: Wolfgang in der Wiesche

Media Diretor: Sungsuk Suk

Stage & Costume Design: Kyongju Park

Light Director: Jaesung Lee

Broadcast Director: Taeckwan Nam

Cast:  Byungsun Rue, Inyong Son, Eunju Park, Anima Singh, Donguk Lee, Jinmun Kim, Hyunyong Shin, Jihea Yoo

Translation: Hayan Jeon, Gewha Kim


* Description 

The Theatre covers the story after the fire in Yeosu Foreigners' Detention Center to the time when bereaved families and injured persons finished negotiation about compensation and left. We ask the audience about the truth of the fire incident by mixing testimony and arguments of several people. However, we never tell a specific truth but we make the audience imagine a direction of the truth and how it looks like. 


* Features of the Work

The performance is given on a broadcasting studio without the audience and broadcasted real time online via cameras and the broadcasting system installed in the studio. The audience are individual web users beyond cameras. Documentary images that Kyongju Park shot in Yeosu Seongsim Hospital when the fire occurred are edited real time to be aired with a half dramatic play for the audience. The studio reborn with simple white cubes without a specific stage setting well demonstrates memories and episodes of the tragedy occurring eight years ago.   

* Yeosu Story 

On February 11, 2007 at 4 in the morning a fire broke out in cell 304 of Yeosu Foreigners' Detention Center.(The 3rd floor detained male migrant workers at the time of fire) A total of 9 out of 55 detained migrant workers suffocated and died in toxic fumes from the urethanes mats: Sung-Nam Kim (Chinese, ethnic Korean), Yelchin (Uzbekinstan), Kwangseok Kim (Chinese, ethnic Korean), Nubo (Chinese, Han Chinese), Taebok Lee (Chinese, ethnic Korean), Seonhee Jin (Chinese, Han Chinese), Jeokwo Jang (Chinese, Han Chinese), Kwanchoong Son (Chinese, Han Chinese), and Shiachoon Lee (Chinese, Han Chinese).    Haepa Whang (Chinese, Han Chinese) among the seriously injured also died while treated in the intensive care unit. A total of 10 migrants died of the fire at the Yeosu Foreigners' Detention Center. Some of the survivals of the fire got compensation while others didn't. Most of them still suffer from aftereffects of the fire and do not receive due attention from the world.

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2015.07.17 00:56

Trans Office Theater UUU Project

An Experimental Art Project by Kyongju Park

- Artists’ Social Performance about Artistic Labor 

There is no future for government-led social enterprises. Only empty voices about a sustainable future and job creation for marginalized people, etc. exist. Unfortunately, cultural and art companies are not companies unless large companies accumulating absolute wealth in Korea transform themselves first. The companies are self-employed businesses that one or two artists take the lead in creating artworks. Therefore, artists are self-employed. Art is not the business manufacturing products but a special work creating values. Most cultural and art social entrepreneurs will fall behind from being self-employed to bankrupts and to the homelessunless the government’s awareness about cultural and art social entrepreneurs changes. 

Am I so negative? No, it is just fact. What fact? The fact that “artists are self-employed”. Art needed to be business so needed to have spaces and people. So employees were hired. Even though spaces and people were prepared, products were not manufactured from 9 am to 6 pm since art industry is not manufacturing industry. That is because art is not a manufacturing industry. Let’s just admit the truth! The truth that artists are artists and profits are not created although art factories are built and artistic laborers are hired with a higher cost. The artists can create other products than artworks to maintain the spaces, give salaries that they promised to the laborers, become administrators to earn funds from the government, and play a CEO role for certain period of time. However, such temporary methods and contradictory dramatic situations are not sustainable. 

Salad, a nomadic social enterprise, decided to admit the fact that we are self-employed. A role of CEO, bookkeeper, regular artistic laborer, non-regular artistic laborer, temporarily occupy unused spaces in cities for eight hours from 9 am to 6 pm a day to work for a social enterprise. They practice and work in unused spaces in cities. Their daily works will be so-called social performances. We will not be embarrassed but create artworks even though nobody asks for our artworks. Every space in cities is our stage and every citizen drifting in cities is our actors and actresses and audience. We, artists, will not be bankrupt anymore since we admit the fact that we are self-employed and return back to true artists. Finding identity as an artist and creator through , a new experimental art project. Sending the warning message that artists of this era become administrators for making a living. They are the objectives of this project. 

How: One video clip will be completed and uploaded daily in the project homepage ( www.uuuproject.com)
Period: April 2015 ~ March 2017 (two years) 
Concept creator & Director: Kyongju Park 
Performances will be run non-regularly online real time during the project period. Newsletter will be published and distributed quarterly. 
Project participants: Salad members and others 







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2015.07.16 17:11

Future Story

2012 Art Center Nabi event performance 


Date: 4 pm on Sep. 21th  2012
Place: Art center Nabi, In front of Chinese Embassy in Korea,  Broadcasting through the web (undergroundartchannel.net), Mae Sod thailand, Sendai Japan.

Duration: 90 min.
Production: Salad
Planning: Kyongju Park
Writing/Directing/Video Editing: Kyongju Park
Choreography: Yuko Kaseki  
Media director: Sungsuk Suk
Music director: Sato Yukie
Coordinator: Kyoung-hee Lim (Sendai, Japan), Mawoongjeo (Measot, Thailand), Dasima Pureuv (Seoul, Korea)
Light director: Jae-sung Lee
Make-up: Terra Hoyoo
Translation: Hayan Jeon
Technical staff: Dong-myoung Park, Seul-gi Kim , Hyongwoo Lee, Chulwoo Park
PR:  Hyoung-ju Park
Documentary Video & Photography: Yuko Kaseki, Kyongju Park, Gwangsoo Kim, Kyoung-hee Lim, Mawoongjeo, Dasima Preup, Tsendsuren Bayarsaikhan
Advisor: Hae-ryong An (documentary Photographer), Seong-in Kim (secretary general, NANCEN), Joon-seong Han (researcher, Institute of Peace & Unity)
Sponsor: AMC Project of Underground Art Channel, ThaByae

Cast: Kyoung-hee Lim (a third-generation Korean Japanese), Mawoongjeo (a refugee residing in Korea), Bok-ju Kim (artist defected from North Korea), Lorna De Mateo, Dasima Preup, Band Kopchangjeongol (Sato Yukie, Ito Koki, Akai Kojiro), Kyongju Park, Sookbata Sarangerel, Arionjargal Namgerel, Myeong-hee Kim, students of Tohoku Joseon School in Sendai, Japan(Seungdae Kim, Seeah Lee, Eunah Gang, Gangsil Seuh, Yunwha Jo, Gyuleui Choi, Suchul Tae, Deasim Lee, Euwha Kim), Myanmar Jamoojja Ethnic School in Maesot of Thailand(Kyaw Win Tun, LwinMyo, Aung Htet Naung, Zay Zay Kyaw Oo, Kyaw Htay, Min Khine Nyein, Zin Ko Oo, Thein Min Soe, Ya Min Nanda Zaw, Phyu Sin Oo, Ya Min Htwe, Lae Lae Htoo, Tha Zin Ko Ko, Myat Ei Soe, Aye Chan Thu, Hnin Ei Shone, Sanda Cho), and Mongolia School in Korea (Dulguun Telmuun, Altankhuyag, Chinbaatar, Khulan, Buyantogtokh, Bat~Amgalan, Batbuyan, Sanchir, Bilguun)

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2015.07.15 05:25

미래이야기 Future Story


Date: 8 pm on July 17th ~ 18th, 2012
Place: Seoul Art Space Mullae Box Theater, Seoul station, live broadcasting through the web (www.undergroundartchannel.net), Mae Sod thailand, Sendai Japan.
Duration: 90 min.
Co-production: Salad, Seoul Marginal Theatre Festival
Planning: Kyongju Park
Writing/Directing/Video Editing: Kyongju Park (www.kyongjupark.com)
Choreography: Yuko Kaseki
Media director: Sungsuk Suk
Music director: Sato Yukie
Coordinator: Kyoung-hee Lim (Sendai, Japan), Mawoongjeo (Measot, Thailand), Dasima Preup (Seoul, Korea)
Light director: Jae-sung Lee
Make-up: Terra Hoyoo
Translation: Hayan Jeon
Technical staff: Dong-myoung Park, Seul-gi Kim , Hyongwoo Lee, Chulwoo Park, Sangsuk Goh
PR: Song-i Han, Hyoung-ju Park
Documentary Video & Photography: Yuko Kaseki, Kyongju Park, Gwangsoo Kim, Kyoung-hee Lim, Mawoongjeo, Dasima Preup, Tsendsuren Bayarsaikhan
Advisor: Hae-ryong An (documentary Photographer), Seong-in Kim (secretary general, NANCEN), Joon-seong Han (researcher, Institute of Peace & Unity)
Sponsor: Seoul Foundation for Arts and Culture, AMC Project of Underground Art Channel, ThaByae, NANCEN

Cast: Kyoung-hee Lim (a third-generation Korean Japanese), Mawoongjeo (a refugee residing in Korea), Bok-ju Kim (artist defected from North Korea), Lorna De Mateo, Dasima Preup, Band Kopchangjeongol (Sato Yukie, Ito Koki, Akai Kojiro), Kyongju Park, Sookbata Sarangerel, Arionjargal Namgerel, Myeong-hee Kim, students of Tohoku Joseon School in Sendai, Japan(Seungdae Kim, Seeah Lee, Eunah Gang, Gangsil Seuh, Yunwha Jo, Gyuleui Choi, Suchul Tae, Deasim Lee, Euwha Kim), Myanmar Jamoojja Ethnic School in Maesot of Thailand(Kyaw Win Tun, LwinMyo, Aung Htet Naung, Zay Zay Kyaw Oo, Kyaw Htay, Min Khine Nyein, Zin Ko Oo, Thein Min Soe, Ya Min Nanda Zaw, Phyu Sin Oo, Ya Min Htwe, Lae Lae Htoo, Tha Zin Ko Ko, Myat Ei Soe, Aye Chan Thu, Hnin Ei Shone, Sanda Cho), and Mongolia School in Korea (Dulguun Telmuun, Altankhuyag, Chinbaatar, Khulan, Buyantogtokh, Bat~Amgalan, Batbuyan, Sanchir, Bilguun)


Introduction
Future Story started in the Seoul station at 3 pm on April 25th. At that time, Salad planned to do guerilla performance in the Seoul station as a result of a creative workshop with a theme of 'refugee.' However, accidently, North Korea's broadcasting towards the South that the military action will start within 3~4 minutes for celebrating the 80th anniversary of the national foundation was aired through the MBN news on the central TV monitor in the Seoul station when members of Salad arrived to prepare for performance. Participants suddenly felt fear that they would become refugees. The performance was canceled and the play was done in the road. The director continued the second, third, and fourth workshops with students of Tohoku Joseon School located in Sendai, Japan, Burmese Ethnic School in Maesot of Thailand, and Mongolia School in Korea. finishes as the guerilla performance canceled in the Seoul Station is shown through the Seoul Marginal Theater Festival 2012 and lively broadcasted with refugees of Japan, Thailand, and Korea.

The Series of Unrespected Death' (plan/writing/directing: Kyongju Park)' refocusing on migration and death has dealt with stories of Korean miners dispatched to Germany, foreign migrant workers in the Yeosu Detention Center, and one migrant woman who died after international marriage like human trafficking. The series that migrant people themselves, not professional actors, have told their stories on the stage will close its theatrical experiment with refocusing on the issue of 'refugees' and 'people in a marginal line.' is a kind of road play that play, movie, and public art are combined. The director goes a road trip with a camera to meet people in a marginal line in Sendai of Japan hit by tsunami and a Myanmar refugee camp in Thailand.

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2015.07.15 05:24

란의 일기 Ran's Diary


Production: Theater SALAD (www.salad.or.kr)
Writer/ Director: Kyongju Park (www.kyongjupark.com)
Choreography: Yuko Kaseki
Music: Wolfgang in der Wiesche
Media diretor: Sungsuk Suk
Stage & Costume Design: Kyongju Park
Cast: Lorna de matheo, Dashima Prub, Gewha Kim, Byungsun Rue, Ariun Jargal
Duration: 90min.
Premiere: 2011.Mai. 22. (Box Theatre of Seoul Art Space_ MULLAE)
Supported by Seoul Foundation for Arts and Culture
Light director: Jae-sung Lee
Make-up: Terra Hoyoo
Translation: Hayan Jeon



Introduction
Ran’s diary”, an experimental theatre, shows how painful and unstable life a Vietnam woman lived in Korea where understanding of other cultures lacks and paternalism is prevalent through her diary that she had written before she died. By doing so, the theatre tries to tell stories of migrant women who died after they came to Korea. Diverse instruments such as music, performance, objet, video, and recording are used in the theatre but it will not show any images of ‘oppressed persons’ such as ‘poor woman’ or ‘victim.’ Rather, ‘Ran’s diary’ discloses how ‘fantasy of men’ and ‘fantasy of women’ are entangled with each other under anti social system, ‘marriage through international brokerage like human trafficking,’ in Korean society.

Synopsis
Ran, a friend of Chaw, was killed by an accident. However, the police conclude that Ran committed suicide without reasonable investigation and Chaw cannot accept their conclusion. Chaw discovers Ran’s diary while arranging her stuff. After reading her diary, Chaw thinks Ran did not commit suicide. She starts lonely fight for finding out cause of Ran’s death but nobody understands her. After reading Ran’s diary, she finds out that what life Ran had lived before she died. However, unfortunately, Ran stopped writing a diary three days before she died.


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2012.03.22 12:29

Introduction of the musical 'Marina & vijay'

 

 

-Production: SALAD
-Support: Shinhan Bank
-Writer: Kyongu Park

-Director: Kyongju Park

-Duration: 55 minutes

-Music Director: Sato Yukie

-Music Composer: GiI Hizon

-Movement Choreographer: Bimala Shresta

-Actors and Actresses: Sato Yukie, Lorna de Mateo, Vijay Gurung, and others

Planning Intention

The creative musical whose main character is a child of multicultural family speaks of difficulties of multicultural families from a child’s perspective. Even though the musical’s general background is school, the story has music room for extra-curricular activities as its setting. It is the writer’s wishes that children who are generally under the burdens of private educations can get away from academic worries during the performance.

 

The main axis of the play is practicing musical instruments. Children can escape from academic stresses while watching the show and musical performance.

 

Synopsis


Children of music
club are preparing for national contest. Even though the day of contest comes close, the practice is still far from complete. One day, Vijay, a Nepali child whose parents moved to Korea, joins the club with a Nepali musical instrument. Marina, one of the club mates and a child of Filipino multicultural family, becomes fascinated at the performance of Vijay.

 

 

On the other hand, Youngchul, who has an affectionate feeling towards Marina, doesn’t like Vijay and tries to get him out of the team. By showing the episodes of children from both regular and multi-cultural families resolving trivial conflicts and cooperating towards their common goal of winning the national contest, the musical piece educates children on the sense of citizenship and attitudes in a multi-cultural society.

 

Characteristics of Performance

 

Multicultural families show in the performance as Marina and Vijay. Sato Yukie, migrant artist himself, participates in the play as a music teacher.

 

Actors and actresses actually play musical instruments from different countries in the music classroom with children and the process of completing the music piece is shown in the performance. Also, surprise events where audience children can participate in the performance with musical instruments distributed during the show trigger interests of audience. By joining the show as audience, children can fly their stresses far away.

 



확대

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2012.03.22 11:45

Introduction of Unrespected Deaths Series Ⅲ


Production: SALAD

Writer/ Director: Kyonju Park

Movement: Yuko Kaseki

Music: Wolfgang in der Wiesche

Length: 90Min.

Premiere: 2011.Mai. 22. (Seoul Art Space_ MULLAE)

 

Aim

 

“Ran’s diary”, an experimental theatre, shows how painful and unstable life a Vietnam woman lived in Korea where understanding of other cultures lacks and paternalism is prevalent through her diary that she had written before she died. By doing so, the theatre tries to tell stories of migrant women who died after they came to Korea. Diverse instruments such as music, performance, objet, video, and recording are used in the theatre but it will not show any images of ‘oppressed persons’ such as ‘poor woman’ or ‘victim.’ Rather, ‘Ran’s diary’ discloses how ‘fantasy of men’ and ‘fantasy of women’ are entangled with each other under anti social system, ‘marriage through international brokerage like human trafficking,’ in Korean society. 


Synopsis

 

Ran, a friend of Chaw, was killed by an accident. However, the police conclude that Ran committed suicide without reasonable investigation and Chaw cannot accept their conclusion. Chaw discovers Ran’s diary while arranging her stuff. After reading her diary, Chaw thinks Ran did not commit suicide. She starts lonely fight for finding out cause of Ran’s death but nobody understands her. After reading Ran’s diary, she finds out that what life Ran had lived before she died. However, unfortunately, Ran stopped writing a diary three days before she died.

 

확대

 

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