Theatrics between Life and Death: Performing the urban history of Garibong-dong, Seoul in Camp or the Place that Became a Lion by Miwansung Project and OLTA

    Research output: Journal PublicationsJournal Article (refereed)

    Abstract

    Soo Ryon Yoon’s ‘Theatrics between Life and Death: Performing the urban history of Garibong-dong, Seoul in Camp or the Place that Became a Lion by Miwansung Project and OLTA’ examines Camp or the Place that Became a Lion (hereinafter Camp), a site-responsive theatrical production co-created and performed by the Korean artist collective Miwansung Project and Japanese visual art group OLTA in 2014 for the Marginal Theatre Festival in Seoul. Based on participant observation in and close reading of Camp, this essay argues that theatricality as a concept and method has political potency that helps the artists create a space and undo ‘formal’ narratives about Garibong as always already a reborn space devoid of its violent and complex history and memories. The artists stage a two-part performance addressing the turbulent history of Seoul’s Garibong district, which is often imagined to be a dead, crime ridden and poverty stricken space ready to be revitalized by state-led urban regeneration campaigns. The first part is a ritualistic street procession where the artists invite the audience to walk through the streets of the Garibong district, engaging with its derelict buildings and local immigrant residents from China. The second part of the performance is an improvisatory play loosely based on Gipeun jam (Deep Sleep), a 1988 play on sleep, death and torture under the authoritarian regime. In each of these instances, the artists investigate the theme of life and death. In so doing, this essay shows, the artists recuperate the concept of theatricality to challenge the lines between death and living, theatrical and quotidian performance and formal documentation and informal memories of the urban space.
    Original languageEnglish
    Pages (from-to)118-124
    Number of pages7
    JournalPerformance Research
    Volume24
    Issue number4
    DOIs
    Publication statusPublished - Sep 2019

    Fingerprint

    Artist
    Urban History
    Seoul
    Lion
    History
    Sleep
    Theatricality
    Crime
    Theatrical Productions
    China
    Residents
    Torture
    Immigrants
    Art Group
    Procession
    Close Reading
    Quotidian
    Participant Observation
    Potency
    Authoritarian Regimes

    Cite this

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    title = "Theatrics between Life and Death: Performing the urban history of Garibong-dong, Seoul in Camp or the Place that Became a Lion by Miwansung Project and OLTA",
    abstract = "Soo Ryon Yoon’s ‘Theatrics between Life and Death: Performing the urban history of Garibong-dong, Seoul in Camp or the Place that Became a Lion by Miwansung Project and OLTA’ examines Camp or the Place that Became a Lion (hereinafter Camp), a site-responsive theatrical production co-created and performed by the Korean artist collective Miwansung Project and Japanese visual art group OLTA in 2014 for the Marginal Theatre Festival in Seoul. Based on participant observation in and close reading of Camp, this essay argues that theatricality as a concept and method has political potency that helps the artists create a space and undo ‘formal’ narratives about Garibong as always already a reborn space devoid of its violent and complex history and memories. The artists stage a two-part performance addressing the turbulent history of Seoul’s Garibong district, which is often imagined to be a dead, crime ridden and poverty stricken space ready to be revitalized by state-led urban regeneration campaigns. The first part is a ritualistic street procession where the artists invite the audience to walk through the streets of the Garibong district, engaging with its derelict buildings and local immigrant residents from China. The second part of the performance is an improvisatory play loosely based on Gipeun jam (Deep Sleep), a 1988 play on sleep, death and torture under the authoritarian regime. In each of these instances, the artists investigate the theme of life and death. In so doing, this essay shows, the artists recuperate the concept of theatricality to challenge the lines between death and living, theatrical and quotidian performance and formal documentation and informal memories of the urban space.",
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