[Cultural Interview] Director Junghee Park: "In This Age of Speed, the Value of Theater That Maintains Its Own Pace Becomes Even Clearer"

Former Director Becomes Second Female Head of the National Theater Company

Park Junghee, Director of the National Theater Company of Korea, stated that theater is an art form that goes against today's "logic of speed." Unlike the increasingly fast-paced flow of the times brought about by technological advancements, she explained that theater requires a process of repetition and accumulation to complete a single production.

"Actors usually practice for about two months before taking the stage. Every time we put on a new show, we start from zero and build up to one hundred, repeating this process over and over. It is an art that moves in the opposite direction of a world that is getting faster and faster."

We met Director Park Junghee at her office in Jangchung-dong, who described theater as an art that steadfastly keeps its own pace. She emphasized that in this era led by technology, theater retains its value because it tells stories about humanity and raises questions rooted in the humanities.

Park Chunghee, Director of the National Theater Company of Korea, is being interviewed by The Asia Business Daily at the theater company's office on Jangchungdan-ro, Jung-gu, Seoul. Photo by Jo Yongjun

In 2024, Park became the second woman to lead the National Theater Company of Korea, following the late actress Baek Seonghee. Before taking office, she led the theater troupe "Punggyeong" for over 20 years, beginning in 2001. As a director herself, after her appointment, she entrusted the stage to directors known for maintaining their distinctive styles, presenting works such as the "Anthropolis" series and "Sammaekyung," which showcased unique stage aesthetics and drew much attention.

"It is not easy for a director to maintain their own style and continue creating work. This is because contemporary tastes and paradigms are constantly changing. Nevertheless, it takes significant tenacity to preserve one's style." This explanation aligns with the idea that theater is an art form independent of the accelerating trends of the times.

"Directors Need Tenacity to Maintain Their Own Style"

The upcoming production "Banya Ajae," scheduled for May, was also planned with this direction in mind. While considering who could handle the scale of the Haeoreum Theater at the National Theater of Korea, Park thought of director Cho Kwanghwa and gave him full autonomy in choosing the work.

"An outstanding production is only possible when the director is genuinely moved by the piece. Only when the director is truly inspired can they devote themselves wholeheartedly to the work. Director Cho Kwanghwa wanted to adapt Anton Chekhov's 'Uncle Vanya' to a contemporary Korean setting under the title 'Banya Ajae,' so I told him to proceed as he wished."

Respecting the individuality of directors naturally allows for a certain level of experimentation. The reason Park seeks to realize this experimental spirit through direction is closely related to the fact that currently, the National Theater Company operates only one venue, the Myeongdong Theater.

Until July 2023, the National Theater Company was based in Seogye-dong, Yongsan-gu, managing three venues: Myeongdong Theater, Baek Seonghee Jang Minho Theater, and Small Theater Pan. While Myeongdong Theater, built in 1936 during the Japanese colonial period, is a classic theater with a clear separation between stage and audience, Small Theater Pan was a flexible venue where the arrangement of seats and stage could be freely changed. Baek Seonghee Jang Minho Theater also followed the traditional theater structure but allowed for some modifications. As plans to redevelop the Seogye-dong site into a multi-purpose cultural complex moved forward, the company left Seogye-dong, relocated temporarily to the Hongik University Daehak-ro Art Center, and eventually moved to its current site at the National Theater in April last year. Since leaving Seogye-dong, the company now operates only the Myeongdong Theater.

Park commented, "It is regrettable that with the loss of Baek Seonghee Jang Minho Theater and Small Theater Pan, it has become difficult to present experimental productions." She also said, "The Myeongdong Theater is not well-suited for experimental plays." She emphasized, "Productions by the National Theater Company must strike a balance between artistic value and experimental spirit." Since the physical conditions of the theater do not allow for much experimentation, she explained that experimentation must be achieved through direction.

"The Loss of Baek Seonghee Jang Minho Theater and Small Theater Pan Is Regrettable... Experimental Theater Has Become Difficult"

By 2030, a multi-purpose cultural complex with three theaters, consisting of four basement levels and ten above-ground floors, is planned to be built in Seogye-dong. Park stressed that, since the National Theater Company gave up two venues when leaving Seogye-dong, it must be guaranteed a certain degree of authority in operating the theaters within the forthcoming complex.

Last year, the Myeongdong Theater achieved an operation rate of 96.7%. Except for days when facilities were being checked, it was open almost every day. The number of productions increased as more National Theater Company works were staged, and more opportunities for engagement with audiences were created, such as humanities lectures, play-reading academies where audience members could participate as protagonists, and backstage tours of the Myeongdong Theater. There was also an increase in guest performances by private theater companies, such as the "Planned Invitation Pick-nic," a program that supports production costs and provides a stage for high-quality private productions. Park explained that, as the National Theater Company is an organization that receives public funding, she has worked to strengthen its public service mission.

Park Chunghee, Director of the National Theater Company of Korea, is being interviewed by The Asia Business Daily at the theater company's office on Jangchungdan-ro, Jung-gu, Seoul. Photo by Jo Yongjun

Five National Theater Company Productions to Be Introduced Overseas This Year: "Government Support Must Increase"

Upon taking office, Park announced plans to both improve the theater's operation rate and introduce outstanding productions overseas to enhance the global standing of Korean theater. In the past, the National Theater Company's overseas performances were few and mostly involved international co-productions. A notable example was "Empire of Light," produced in 2016 in collaboration with the National Drama Centre of Orléans, France, to mark the 130th anniversary of diplomatic relations between Korea and France. As for self-produced works, "Orphan of Zhao: Seeds of Revenge" is virtually the only case of an independent overseas presentation.

After her appointment, Park assigned staff in each department to be responsible for international exchange work, resulting in five National Theater Company productions scheduled to be presented overseas this year. Last year's productions of "Hedda Gabler" and "Twelfth Night" will be performed at the Singapore International Festival of Arts (SIFA) in May and the Hong Kong International Shakespeare Festival (HKISF) in June, respectively. "Retreat of Vanishing Point," directed by Jung Seyoung and developed through the company's Creative Track 180 project, will participate in the Chemnitz Theater Festival in Germany in July. In addition, although the specific works have not been decided yet, National Theater Company productions will be presented at the BeSeTo Festival in China in September and in Europe in November. Park said, "There are many Korean directors whose work would attract international interest, but they simply haven't had the opportunity yet."

Park also stressed the need for active government support. She explained, "This year, the budget allocated for international exchange is only 500 million won (KRW 500,000,000)," adding, "We are forced to prepare for overseas performances by reducing staff or scaling down the stage." She continued, "Each production requires about 200 million won (KRW 200,000,000)," and emphasized, "The budget for international exchange must be significantly increased."

Ultimately, Park expressed her desire to stage original Korean plays overseas, noting that the works to be presented abroad this year, such as "Twelfth Night" and "Hedda Gabler," are by foreign playwrights. As a graduate in Korean language and literature, Park also hopes more Korean is used on stage rather than foreign languages in theatrical performances. She remarked, "Theater is an art performed in our native language. Korean represents the spirit of our people and has a unique character, so we must not lose its value."

In closing, she asked for continued interest in the National Theater Company. "I didn't realize it from the outside, but after taking on the role of director, I see that the staff's workload is considerable. Everyone is doing their utmost with a sense of purpose to create outstanding productions. I hope the National Theater Company will receive more attention and support."

This content was produced with the assistance of AI translation services.