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• W2991666058 abstract "Shakespeare in Seoul, Spring 2004 In April and May of 2004, the National Theater of Korea offered a rare opportunity for theatergoers in Seoul to experience watching Shakespeare's plays in an outdoor theatre. Although the Bard has been a staple in the Korean repertoire since the 1920s, Shakespeare in an outdoor theatre is quite unusual. The 2004 festival, Shakespeare-Nanjang [Market]: the Original, the Deconstructed, the Reconstructed, featured a crisscross of bardolatry and bardicidal impulses that demonstrated different ways of interpreting and staging Shakespeare in Korea. Five local troupes were invited to perform four plays in two different genres, in an attempt to answer the question of where compromises should and can be made for a modern Korean audience. All five shows featured were distinctive in their self-conscious efforts to create a localized Shakespeare, and in their avid desire to engage the general public, especially young theatergoers. In addition to being a commercial success, the festival amounted to a small watershed in the history of Shakespearean performances in Korea. While the productions offered some fresh insights into how to stage Shakespeare for a Korean audience, the organization and management of the festival were far below the reputation of the National Theater. The playbills were full of typos and misinformation, and the accounts of each play and company were paltry. The newly built outdoor theatre was unfavorable both to the performers and the audience. Because of its downtown location, the performances were frequently interrupted by noise. Moreover, the temperature of nights in April was far too cold for the audience to bear throughout the production. The seats were uncomfortable, and scaffolding, serving as anchors for the lights and huge electronic speakers, blocked some of the view of the stage. As its opening show, the festival featured a frisky adaptation of A Midsummer Night's Dream, by Dance Theater Dongrang, April 1-18. Directed by Ilkyu Park in collaboration with Seihwan Park, a circus choreographer, Sky conformed to the contours of the contemporary Korean entertainment industry and thus to the tastes of popular audiences. With Theseus's Athens transformed into Club Sky, a modern dance hall owned by Oberon, the first fifteen minutes of the show were dedicated just to singing and dancing to popular Korean tunes. The show's extensive employment of popular entertainment forms became more and more excessive as circus acrobats, jugglers, and ropedancers were employed for the purpose of appealing to young theatergoers. The circus setting with pyrotechnical stunts did not go well with the romantic turmoil of the Athenian youths. With no clear connection to the plot line, the special effects functioned primarily as an innovative sideshow to the mostly incoherent narrative and, at best, served as a superficial reminder of festivity in the play. The most notable aspect of the production was its attempt to turn the physical limitations of the theatre into an interpretive advantage: the production made a conscious effort to shift the audience's perspective. The audience was forced to stand in a very compact area for forty minutes. After the scene at the dance club, the audience was allowed to change spots from the packed floor onto the seats. With the sweeping change of seats, the production was able to signify a movement from the modern, exhilarating dance club to the enchanted woods and from a realistic, contemporary world to the fantastic fairyland. Making the best of the theatre's limitations and allowing the audience to enjoy being outdoors, Sky succeeded in staging the play's festivity, even if it turned a blind eye to the bleakness latent in the text. The young lovers were often found arguing or pursuing each other while the masked fairies made buzzing sounds, choric serenades, or catcalls, all of which corresponded to the emotional vacillations of the lovers. …" @default.
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• W2991666058 date "2004-12-22" @default.
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• W2991666058 title "Shakespeare in Seoul, Spring 2004" @default.
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