What does it mean for a planner to work with a performance group? In the process of reading the works of performers, managing a group, and developing audiences as a director, there is a different creative level than artists, concerns of making a living, numerous demands of ever-changing environment of cultural arts and having to see through the needs of audiences. This is why starting out and keeping in tune with a group for a long time is so important for managing a performance group. For Producer Hye Won SHIN, 2012 will be her 10th year since she has kept in tune with Theatre Momggol, which means body and shape in Korean. She has started out in 2003 as a planner of Theatre Momggol and officially was put in charge of the Momggol in 2005.

Creating a New Form for the Stories of the Isolated

"When I was in a slump majoring in acting, I had the chance to help with the planning of a performance by Theatre Momggol''s Director Jong Yeon YOON, who was also a lecturer at the school. I was shocked when I first saw the Orphee at the Marronnier Park on Daehangno. It was not only visually brilliant, but also new and fresh in its format unlike other plays or musicals."

Producer Hye Won SHIN, who says she also wants to try out as a dubbing artist but won''t go on a stage, believes one shouldn''t become a producer if that person desires to be on the stage, and the work of producing must start at a theatre where the front-line is. This is her own commitment that in order to understand the creative process and communicate with artists, it is essential to understand and be interested in the stage, but everyone must give everything to their own special area in order for each person to fulfill their role.

However, it isn''t easy to serve in a group and share the joys and sorrows of life for 10 long years. I became curious to know in what ways she was attracted to the works of Momggol and what themes interested her.

"I thought I was part of the mainstream, but realized I wasn''t. Because the works of Momggol starts off with the discussion of the concepts and direction together and even the strategies for distribution, they are not far from my personal interests. We talk a lot about ''isolation'' at Momggol. Although we talk about the perception, social issues, and rough things relating to things that are being isolated, we are more interested in new expressions rather than new stories."

The works of Momggol was selected for the official showcase(PAMS Choice) of 2005 PAMS (Orphee) and 2007 PAMS (Handcart, overturned), and had invitation performances in Macao and Japan as well. Also in 2007, with production by an outdoor festival Gwacheon Hanmadang Festival, Momggol created a joint Korean and Dutch performance Ku-Do with the Lunatics Company. I asked her what is the appealing aspect of overseas exchange as a producer.

"Through ''Handcart, overturned'', we were able to have invitational performance overseas, and we plan to have more performances abroad in the future. Performing abroad, in addition to promoting our works, is about seeing new places and meeting new people. Most performances abroad often happen through personal connections. Although we don''t have much expertise on foreign exchanges, we plan to make it on our own as much as we can rather than depend on others. The joint performance with the Netherlands in 2007 was difficult because it was our first time, but it also gave us good experiences as well. If we get the chance again, I think we can have more fun doing it. Personally, I like works where I can feel the force of the actors. For example, I love the actors of the work Sclavi/The Song of an Emigrant by Czech''s experimental group Farm in the Cave so much that I would like to work with them if I get the chance."

New Approaches for Managing a Theatre Company

Since 2009, Momggol has created a chance to unify its works through a kind of self-festival called ''MomCollage''. This event which occurs every other year is to reevaluate and develop new works of Momggol, and it is also an opportunity for the members of Momggol to become creators and invite the artists that Momggol had the chance to meet. At the Theatre Momggol and Imagination Training Camp, the works from each members'' workshop and production costs of developing new works is supported and a presentation show of the works is held 2 to 3 months later. Through the ''One Million Won Project'', as it is called, each person gets the chance to develop themselves and build the capacity of the team. Although there weren''t any tangible results yet, they are helping as source development for the works.

"Each person becomes a creator and director, and as it is creating ''my own work'', people become more proactive and pay close attention even when purchasing trivial materials. The ''MomCollage'' opens as such small works come together."

The Theatre Momggol, Momggol Imagination Training Camp, and Cultural Shepherd Ggol which are the three axis of Momggol management that started in 2011 are also in the same context. Theatre Momggol is primarily focused on creating new works, Momggol Imagination Training Camp develops arts education and participation programs, and Cultural Shepherd Ggol is responsible for planning.
"When an actor stays in a group for a long time, one begins to think about searching for one''s own place. I also think the same way. I wanted to create the right places for the actors who have been with me for a long time, and this is how I came to create the ''role'' for each actor that the person wants and is good at. I divided the planning part first, then allowed the members not only as actors but as team leaders of Theatre Momggol''s performances, and shifted the management based on responsibility by expanding their roles as representatives of Imagination Training Camp and dividing the financial affairs. Since then, I think all the members began to see the group more specifically from the point of an organized group, and not just from the aspect of creating new works. As I also have been working as a producer at Theatre Momggol, its not easy for me to talk about and see other works. I began thinking that this would eventually lead to a frog in a pond, and wanted to expand my horizons."

Momggol has a studio and office in Mullae-dong, and it is being managed by 10 members. Working hours for each day and 5 day work week was set up, and the rehearsals of Theatre Momggol and Imagination Training Camp is running based on set schedules.

"As the staff members were put in place, 5 day work week, holidays, etc. are being strictly followed. With the enforcement of 5 day work week, there were even voluntary requests by members for a 6 day work week before performances. We talk about important matters through weekly administrative meetings and meetings for the entire members.

Currently, the Cultural Shepherd Ggol is being operated by a 1 full-time member and a pool of visiting staff according to each project. Although many producers want to work in a theatre group ''at least once'', but a theatre group is a place for producers to build experience, and it is difficult to expect them to make a career out of it with long-term vision. It is true that most want a stable line of work like in a public institution rather than performance planning at a theatre group. This is why, Cultural Shepherd Ggol consists of a staff pool who knows Momggol well rather than full-time employees, and share a yearly plan and work with them on a project basis."

Experimenting with Collaboration with Artists of Different Genres

If Momggol have been doing their work on their own, the ''Traveling Project'' of 2011 fall Seoul Art Space Mullae is a work that focuses more on solidarity and exchange process with artists outside of the group. For Momggol, it still seems ''how to create solidarity with what kind of artists'' is more important than ''meeting what kind of audiences.'' The Traveling Project is a festival with various cultural arts organizations in the center. Every year the festival is held at different regions, and captures not only the unique environmental characteristics of the area, but also the place''s social and other issues. The creators share opinions and thoughts through data investigation, researching, discussing, and other methods during pre-production period, then based on these, each person creates their own work.

"Sometimes I personally participated in other festivals as a staff member, and the thing made it difficult is that after the preparation and opening of the festival, the staff members are too exhausted to enjoy the festival with the artists. The fond memory of a barbecue with all the artists and staff members at the Chuncheon International Mime Festival made me want to plan a festival. I want to create a festival where everyone voluntarily participates and enjoy it together. The Traveling Project which can be called the incubation period for the Traveling Festival was started last year with Momggol being the main body, and this year, it is being prepared under the name Cultural Shepherd Ggol. When the project takes shape, we are trying to develop it into a secretariat for Traveling Festivals."

The Traveling Project is divided into planning and creating staffs. The five planning staff members play their part as the force behind objective perspective and direction. The creating staff is participated by the members of the theatre group and individuals, and several planners including myself participate as dramaturgs, production managers, among others. Although I don''t get on the stage myself, I participate through research, presentation, and creative process. I can try various things and meet different people through the Traveling Project. I like working through such process with others. They are already underway with spatial studies for the performance at this fall''s Seoul Performing Arts Festival

Dreaming of a ''Table Community''

Producer Hye Won SHIN is also the General Director of the Korea Street Arts Center. Because of her past experiences, she was able to actively participate in the establishment of the Korea Street Arts Center and even become the General Director. The large outdoor performance of Theatre Momggol was once invited to a overseas festival, but it ended up being cancelled because they couldn''t build a new stage set for the festival. After a performance in Korea, the stage set had to be discarded because there wasn''t a proper storage, and there weren''t enough budget to remake the set for the overseas performance. The large set made with ''street'' background had been used as a disposable set due to storage problems. So, one of the major issues that emerged when the Korea Street Arts Center was being formed was to make a ''collaborative stage for street arts''. Luckily, a street arts center is being prepared in Ansan this year, and Momggol is also attempting to arrange a street theater by preparing an outdoor space as it was selected as a residency company of Ansan Culture & Arts Center.

"There are many creators among the members of the center, and what the members want is pretty similar. They all want to sell a lot of tickets for their performances. This is why the street arts market also play an important role. I think there is a need to branch out many projects and find responsibilities of the center. Also, I think a unique marketing method only for the street arts center should be found, where it can present works of street arts linked together."

As a planner, Producer Hye Won Shin who talks a lot about ''food'' thinks it is very important to provide good meals to the artists. Also, one of her dreams is to operate a ''food truck'' that tours festivals.

"Someday I want to manage a residency space. The Seoul Art Space Mullae is a good model of a residency space that I have in my dreams. I want to create a non-mainstream cultural space like the Hong Kong Fringe Club where artists can freely come to work, collaborate, and hang out. The employees of the cafe can also be the actors. I think people can hang out at the cafe when they don''t feel like working and recharge themselves by studying something else. It would be great if we can eat together at the place. The food won''t be free, of course. Instead, I''ll do my best to serve them tasty food."

When things don''t go the way they should, she goes in the kitchen and quickly whip up some food, and feels happiness when she sees her Momggol family enjoying the food. She says strength comes from a ''table community'', a place where the staff of the festival can naturally come together to enjoy each other''s company by eating and chatting at the same table. I think applications are going to pour in from planners and artists who can also cook at the ''food trucks'' that we will be seeing in the near future festivals.