Theater and Theater Research in Korea and Elsewhere: Where Are We, Where Are We Going?

Abstract

The author went to Korea determined to take inspiration from their working methods for creating a mise en scène and performance analysis. He found his hosts were very familiar with the latest artistic trends (postmodernism, postdramatic practice, among others), concerned not to miss out on the next American or European critical wave. They had seen Wilson, Lepage, and Suzuki, who had all made stops in Seoul. His Korean students, like their British or French counterparts, struggled to wield the tools of classical dramaturgical analysis. His actors quickly “found” their acting style and did not utilize the Western theoretical framework of mise en scène. The author was wary of returning to Brechtian notions of theater, to political analysis, but finally embraced them. Meanwhile, his colleagues set about ordering articles on postdramaturgy, postdramatic theater, performativity and globalization.

In Barcelona, in July 2013, only just back from Korea, I wanted to use the platform of the International Federation for Theatre Research to present my conclusions on the state of research in the world, and particularly in Korea.

I went to that country determined to take inspiration from their working methods for creating a mise en scène and in performance analysis. I found my hosts were very familiar with the latest artistic trends (postmodern, postdramatic, you name it), concerned not to miss out on the next American or European critical wave. They had seen Wilson, Lepage, and Suzuki, who had all made stops in Seoul. My Korean students, like their British or French counterparts, struggled to wield the tools of classical dramaturgical analysis. My actors quickly “found” their acting style and did not bother to find the system of mise en scène. I was unsure about returning to Brechtian notions, to political analysis. Then, finally, I threw myself into it: my seminars became at times a theoretical monologue. And in addition to that, my colleagues set about ordering articles on postdramaturgy, postdramatic theater, performativity, globalization.