By KIM Seul-gi (soolsoolgi@naver.com)
Photography by SEO Dong-shin, Sow Studio)
Korean Theatre Review (August 2009)

In the first half of this year, Doosan Art Center successfully addeded the “science play” concept to existing theatrical frames by producing four science-themed plays: The Scientifically Minded, Oxygen, Copenhagen, White Cherries. Previous science-themed plays had been staged simply as a one-time event. In contrast, Doosan Art Center’s series provided an opportunity to extend the concept and weigh its development potential. Along with the forum “Why Science Plays?” which was held at the beginning of the series, many discussions about science plays took place. Doosan’s recent science play program has dispelled doubts over the ambiguous concept of science-themed plays and unlocked their potential.

Soon after the end of the four science-plays, Doosan Art Center introduced an education program titled “Summer Theater for Young Artists” at its small theater Space 111 during the off season when theaters normally sit out the rainy and summer vacation seasons. This free program, composed of a series of lectures by producer PARK Jeong-hui, playwright and producer GO Seon-wung, actor OH Hyeon-gyeong, choreographer JEONG Yeong-du and producer SONG Han-saem, was opened to anyone under the age of 35 working in the performing arts sector. Reflecting the poor state of the theater community, the program was crowded with many participants since well-organized performing arts-related education programs are usually costly. After a three-hour lecture passionately delivered by OH Hyeon-gyeong, producers KIM Yo-an and YI Su-hyeon, both at the center of Doosan Art Center’s art incubation program, sat down for an interview.

KIM Yo-an:

In fostering creators, theaters can have different roles, and their support range and capability can differ. We also had to decide to what range and to what extent we should support new creators. For newcomers, there are still some support channels, but creators who want to take things one step further have a hard time getting good results and informing others about them when they do. So I thought we should focus on the potential and seriousness of the person as a creator in order to prevent them from disappearing. In our view, these creators with a clear vision and concept need effective support even though they are still in the beginning stage,

YI Su-hyeon:

Doosan’s creator support program is aimed at those in the middle of the three creative stages -- beginning, settling and development. Though they seem to be well-positioned, for creators, positioning is different from keeping up their creative works. We also need a more flexible view of the idea of creator support. Some say we should discover new creators and let them produce their works. But that is different from the role we think we can play. These days, more theaters try to produce their own creative plays. Doosan also has two producers. We’re looking to invest more into linking theaters and creators and coordinating even small details through constant and active communication.

KIM Yo-an:

By holding the series “Small Theatre Is Large,” Doosan focused on rediscovering existing plays. It also aimed to acquire competence through holding a series of theme-based plays and introduce the hidden finding of the space. So we selected plays that failed to earn popularity despite meaningful performances or plays that can make the most of the characteristics of a small theater in terms of space. Since Lee Jaram’s Sacheon-ga performance, Doosan’s creator support project has moved into full swing. Despite its brief run, it was very well received by audiences. Doosan may seem to be taking a risk with this kind of pansori performance, but we plan to strengthen the team by holding an audition and perform the play for three weeks this year. This time, we’re also scouting young creators with the Seoul Fringe Festival.

YI Su-hyeon:

Holding a series of science plays was appealing to the theater management. This is because not only a single play but also project ideas are useful for creating a theater brand. We had a professor of materials science and engineering who watched one of the science plays say this was the first play that he had understood clearly from beginning to end. After hearing this, I looked back and started to wonder if past plays were created only from the producers’ point of view. In “Summer Theater for Young Artists,” we ran the program to help participants understand how to better use the space of a small theater. Building on these experiences, I plan to concentrate more on making the next project a program of depth.

KIM Yo-an:

In fact, theatergoers, artists, producers, all of them, they are in the same process of finding unity while creating a play that everyone wants. Producers are also human beings. They share the same vision, play their role to solidify it and ultimately generate a sensation through the audience. These days, however, members of a performance team are becoming more specialized. Considering the trend, producers also need to be equalized and specialized. The more important thing is to be earnest and not misuse one’s authority as a producer. We need to keep a sense of balance despite constant changes and keep trying to find unity with the audience by endlessly raising social issues.

YI Su-hyeon:

We need to have a group spirit because a play cannot be made by one person. As a writer expresses their vision of the world through their works, producers show their view through the process of producing a play and its outcome. The only difference is how they express their views. It is dangerous to limit the role of producers to a financial concept. Money provides only a frame that can make everything happen realistically. For producers, as for all creators, a good work is the key. In the communication process, we need to pursue new, more flexible and sensitive ways and need to have more things to consider.