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

Since May 27, Jungbo Theater has once again been making a move in the drama world: five leading theater companies -- Golmokgil Theatre, Pungkyung Theater Company, Theater Zageun Shinhwa, Yohangza Theatre Company, Baeksugwangbu Theater Company – have gathered their theatrical masterpieces for the first Jungbo Theater Play Festival. The plays to be staged at the festival include At the Dock, Maids, Ttongganni Mystery, A Midsummer Night’s Dream, and Travel -- all outstanding works recognized for their artistic merits. It is good news that these excellent dramas are available at one venue. It had been getting harder and harder to enjoy the sense of falling in love with dramatic imagination.

Just seeing the Jungbo Theater full of vitality again is a joy for those who know the theater’s history. Run by actor PARK Gwang-jeong, who also headed Park Theater Company, Jungbo Theater actively staged 19 of his company’s performances over seven years since its founding in 2001. But, following Park’s death on Dec. 15, 2008, from illness the theater company disbanded and Jungbo Theater fell on hard times.
     The Jungbo Theater could have been just one more to close without leaving any memorable legacy. Saving the theater may not have been the only goal of the five theater companies gathered, but, thanks to their efforts, the symbolic Daehangno venue has managed to survive. Behind its fresh start lies the hidden charm of a drama.
     “I have long thought that these five theater companies should run a theater together one day. I even looked for a venue,” explained PARK Jeong-hui, the chief producer for Stage Pungkyung. “In January this year, I heard Jungbo Theater faced managerial difficulties, so we expressed our will to run the theater and began jointly managing it. Recently, the theater market is dominated by commercial plays. The biggest reason to jointly run the theater is to present plays that we want to perform, in other words, we want to stage ’pure drama‘ to show the true colors of our theater companies. Regarding the concept of pure drama, we want to stage conventional drama, not based on producer-centered plays. Project-led performances may show a variety of plays, but ultimately they’re going to have to stand on their own.
     “Jungbo Theater will hold a festival every year. Each of the five theaters will present successful plays from their repertoires or new plays for five or six weeks. We will rent out the theater for external functions, otherwise will have managerial difficulties,” Park said, laughing. “We also need to provide opportunities to new producers, not just concentrating on ourselves. Like Arko Arts Theater’s concept of the ’Glorification of Creativity,’ we are also planning programs to nurture new playwrights or hold producer-related series.
     “Actually, the most rewarding thing for a producer is when my work gives an inspiration or stimulation to the next generation. If Jungbo Theater is stably managed and well positioned, young producers will have more chances and space to unfold their talents. Everyone is hoping for the same thing. We want to make this theater a place that provides Daehangno with as much fresh air as possible. This is another meaning behind the gathering of the five theater companies. I think my superiors failed to make connections among those in their 40s and 50s. So, building a friendship or comradeship among producers regardless of age is desirable. In fact, we producers are very lonely people. So this can be a very encouraging move.
     “There are theater maniacs in Japan. If we can have such maniacs here and present plays with heart and soul that reflect the issues of contemporary society, wouldn’t it set a good example?”
     PARK Jeong-hui was given the first one-year post as Jungbo Theater’s chief since he is the most senior of the five theater company heads. Though he says his term ends this year, a shy smile also reveals his confidence. During his term, Park will be in charge of programs, while the main producers from the other four companies -- CHOE Yong-hun, YI Seong-yeol, YANG Jeong-wung, and PARK Geun-hyeong -- are in charge of production, public relations and theater management. However, the theater heads’ administrative staffs are the ones really handling Jungbo’s day-to-day affairs. Though management is divided in terms of tasks, all five producers are pursuing the same vision. They want their Jungbo Theater project to bear long-term success and turn it into a place that both the audience and producers can take pride in.
     As an onlooker, I hope the five united theater companies can work together smoothly and transform the theater into a place that gives new talent a chance to excel beyond what would have been possible through the enthusiasm and planning of a single company. To do so, they need to share more trust, care and sacrifice. But the strength they gather through these times and performances can offer an opportunity to reevaluate the meaning of Daehangno theater.