Format / Medium
Physical Theatre Production (Source: Kim Hyun and the Tiger from The Heritage of the Three States)
Presentation & Context
2023 WTEA (World Theatre Education Alliance) International Theatre Festival, Beijing
2023 Guilin Festival, Guilin
Featured on ArirangTV (International Broadcast)
Awards & Accolades
Best Stage Performance Award, 2023 WTEA International Theatre Festival
Key Roles
Producer, Student Director, Music Director
Synopsis
Once, a long time ago, there was a village where tigers frequently appeared. The villagers held lantern ceremonies at the temple to pray for safety and peace. One day, a ritual called Topdol, involving young men and women circling a pagoda, was organized in the village. A kind-hearted oriental medicine vendor named Kim Hyun, along with his articulate and otherwise capable friend Joon, participated in Topdol. Kim Hyun becomes smitten at first sight with a particular woman and they exchange flirtatious glances. This free-spirited and mysterious woman, who often walks alone, keeps crossing Kim Hyun's path. However, amidst the Topdol festivity, a sudden attack by a massive tiger throws the village into chaos.
Director’s Note
This piece restructures the narrative and characters inspired by "Kim Hyun and the Tiger (金現感虎)," as documented in the folklore records of Korea's The Heritage of the Three States. While the story introduces non-human elements that exude an aura of mystique, it predominantly speaks about human conditions. The tragic love tale of two individuals, each choosing a unique path to their destined fates, gradually reaches a heartbreaking climax. The traditional and inherently Korean elements in the story influenced the selection of this work.Since some aspects of the original narrative might appear illogical or oversimplified to modern audiences, our adaptation aims to resonate and draw empathy from today's viewers. The hope is to convey the profound echoes of a love story that challenges fate. The production was envisioned to emphasize the physicality of the actors and expression through the bodies of the actors. The utmost effort was put into maximizing the bodily expression of the actors with a minimal use of props. The preparation process was a series of discussions and experiments. The team collectively brainstormed ideas and actively trialed them. The actors proactively suggested expression techniques and even improvised songs and dances. So, the script underwent continuous revisions and refinements.
Personal Contribution & Role Summary
As Producer, my role centered on international project management and cross-cultural operations. I served as the primary English-language liaison for the entire troupe, coordinating logistics with WTEA festival organizers, local Chinese staff, and visiting professors across two cities (Beijing and Guilin). This position required high-level communication to ensure all technical and artistic instructions were understood and executed, bridging linguistic and cultural barriers.
As Music Director and Sound Operator, I managed the production's auditory landscape. This included curriculum-based directorial feedback during the development phase and executing live sound operations during the performances.
This multifaceted role provided direct experience in crisis management, technical execution, and interdisciplinary collaboration within a high-pressure international festival environment.
