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• W285964929 abstract "Translating emotions! This seems to be what mattered when I look back upon many Korean productions of translated Western plays. Recently, sitting at the Korean production of Romeo and Juliet by Oh, Tae-sok, a representative Korean director/playwright, it dawned upon me that if the audience are not invited to 'feel' at the production, then despite their understanding of the storyline, there is little point in performing it for them on the Korean stage. Shakespeare's works are increasingly popular among Korean audiences, and this is explained by the inherent universality of his works, including themes and, presumably, emotions. When translating the emotion(s) inherent in the English story of Romeo and Juliet into a more specifically Korean context, it is the warm, friendly emotions that matter most. The defined emotions in this play are love and hate, perhaps common to all human kind. In a Korean adaptation of the original story, director Oh has successfully re-created emotional energies that are identifiable and enjoyable for the Korean audience, by ingeniously highlighting Korean-specific understandings of emotions and feelings in every important moment of the play. This particular production has been invited to the Barbican Centre in November 2006 for BITE. Will the London audience find certain Koreanised emotions in the play to be somewhat foreign? The Korea-Australia joint research project, 'An Intercultural Study of Performing Bodies and Emotions', generated four articles and a play script that constitute the core of this ADS special issue. It came about after I organised an intercultural workshop with Korean actors in 2000 (Korean Association of Women in Theater), which invited Julie Holledge to lead the workshop. After the workshop, Korean actors explained that they had spent their time there most valuably because they had learnt about different approaches to acting - especially about the systematic approaches to acting and generating emotions. Over the course of the workshop, Jules seemed to have encountered a number of differences, and was especially impressed by the way Korean actors can activate emotional reactions seemingly instantly to the given situation. Have emotion and showing emotion traditionally been considered the most human ways of communicating among people in Korea? Is there a clear division of emotion/reason and feeling/thinking when it comes to the level of daily interactions in the lives of people in my country? Comparatively speaking, our traditional socialisation does not emphasise that emotions/feelings are to be repressed under the social mask. Inevitably there are gender differences as well as many other differences to be considered. A holistic view is reflected, for example, in Korean mask dance drama, a folk play/theatre form performed on the ground surrounded by the audience. This type of entertainment is popular because it brings the audience together to feel, laugh and think about the spectacle presented. In participating in this project on emotions, I came to be more aware of how emotions specific to a culture (and my own) affect performing bodies differently in a given dramatic situation. …" @default.
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• W285964929 date "2006-10-01" @default.
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• W285964929 title "Translating Emotions for the Local Audience" @default.
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