Jaha Koo
The History of Korean Western Theatre
© Choy Jongoh ©
Concept, direction, text, music, video and performance by Jaha Koo
Dramaturgy, Dries Douibi
Stage design, Eunkyung Jeong, and Jaha Koo
Technical management, Korneel Coessens and Philippe Digneffe
Research, Eunkyung Jeong and Jaha Koo
Research assistant, Sang Ok Kim
Interviews conducted by Yoonsik Lee and Injun Na
Produced by CAMPO
Coproduced by Kunstenfestivaldesarts (Brussels) ; Münchner Kammerspiele ; Frascati Producties (Amsterdam) ; Veem House for Performance (Amsterdam) ; SPRING Festival (Utrecht) ; Zürcher Theater Spektakel ; Black Box teater (Oslo) ; International Summerfestival Kampnagel (Hamburg) ; Tanzquartier Wien ; wpZimmer (Anvers) ; Théâtre de la Bastille (Paris) ; and Festival d’Automne à Paris
In association with Théâtre de la Bastille (Paris) ; and Festival d’Automne à Paris
Residences provided by : Kunstencentrum BUDA (Courtrai) ; wpZimmer (Antwerp) ; and Doosan Art Center (Seoul)
With support from Beursschouwburg (Brussels) ; Vlaamse Gemeenschapscommissie (Brussels) ; and Amsterdams Fonds voor de Kunst
Campo receives support from Gand and The Flemish Community
With all the skill of a laboratory technician, Jaha Koo probes deep into the influence of Western theatrical tradition on Korean theatre. Onstage, using video and music, the South-Korean performer interweaves fragments from his own life story with extracts from the major historical theatrical tradition in order to build up a subtle metaphor for Korean society.
In this final instalment of his Hamartia trilogy – which examines the ways in which a collective past acts, inexorably, upon our modern-day personal lives -, Jaha Koo seeks to map out the broad outlines of South Korean theatre. He comes to the conclusion that, in terms of any Korean theatrical tradition, there was none. What is termed as “Korean theatre” has been largely determined by the canons of the West and Japan. Why do South Koreans always make reference to Shakespeare and why are they such proud advocates of the prisms, working methods, and different cultural inheritances from overseas? In more general terms, what do we understand by the term “contemporary” in the context of South Korea? Backed up by a self-composed electronic sound design played live, Jaha Koo single-handedly builds up a documentary performance in which political and sociological accounts resound in an intelligent way with elements of an intimate nature. After Lolling & Rolling and Cuckoo, Jaha Koo furthers his research into the collisions and acquaintances of oriental and Western cultures. This time around he casts his gaze on the horizon, both near and far.
In the same place
Gurshad Shaheman, Dany Boudreault Sur tes traces
The piece takes us a road-trip in the form of a double portrait involving two destinies, namely those of Gurshad Shaheman born in Iran, and Dany Boudreault in Quebec. Authors, directors and performers, the two artists got to know each other in Europe. Here, each of them sets off in search of their respective pasts.
Marion Duval Cécile
Certain encounters are life-changing. This piece is about Marion Duval's encounter with Cécile Laporte, an activist and author to whom she has decided to dedicate a show. The resulting 'truth-performance' is an inspiring one and enables us to embrace the unbearable complexity of the world in a light-hearted way.
Jaha Koo Haribo Kimchi
Haribo Kimchi, a hybrid performance combining text, music, video and robotics, embraces South Korean cuisine as part of an investigation into cultural assimilation, together with its conflicts and paradoxes. It enables Jaha Koo to ask questions first raised in his Hamartia trilogy.