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ANNUAL REPORT

2015

ANNUAL REPORT

2015

Letter from President

About Wooran

SEEYA the Project Box

Philosophy

Programs

Interview

Performance

Wooran 2016

Wooran Friends

02

04

08

10

11

31

44

46

48

Contents

Wooran Foundation was established in 2014 for the purpose of creating a sound

foundation for the arts and ensuring their sustainability by nurturing cultural talents

and supporting the growth and development of cultural contents. This is to carry on

the legacy of the late Park Gyehee (Wooran, 友蘭), who aspired to cultivate creative

minds and talents and to create a liberal place of culture where they could freely

engage in creative activities.

Since 2012, the foundation has been dedicated to the training of talents and devel-

opment of contents in diverse fields of the performing arts industry through SEEYA

the project box. And for the creation of a wholesome performing arts culture, it has

been providing opportunities for creative works to reach broader audiences. The

members of the organization are constantly contemplating ways to improve the en-

vironment in which creative minds and works are encouraged and cultivated so that

the performing arts culture can become deeply rooted in our society.

Based on prior experiences in performing arts projects, the Wooran Foundation also

embarked on a craft project in 2015. The project aims to create a platform for intro-

ducing master craftsmen, who have long been carrying on the traditions of handi-

crafts behind the spotlight, and their works to a wider audience. This will ultimately

allow us to demonstrate that traditional crafts are not something of the past, but are

still relevant to all of us in modern society.

The Wooran Foundation is committed to nurturing talents in the industry and sup-

porting the growth and development of cultural contents, thereby contributing to the

creation of a sound environment for culture and the arts.

Wooran Foundation President

Chey Keewon

LETTER FROM PRESIDENT

0504

WOORAN FOUNDATION ANNUAL REPORT 2015

The Wooran Foundation was established in 2014 to carry on the legacy of

Park Gyehee (Wooran, 友蘭), the late founder of Walkerhill Art Museum, who aspired

to cultivate creative minds and talents and to create a liberal place of culture where

they could freely engage in creative activities.

The Wooran Foundation sees the future of the cultural sector in person-centered

education. By nurturing creative talents, discovering and developing excellent

contents, and providing concentrated support for their expansion into bigger stages,

we wish to create a sustainable cultural ecosystem where diverse artistic values can

coexist and be upheld.

ABOUT WOORAN

Established Wooran Foundation

Musical <J.S.A.: Joint Security Area>

CREATIVE LOUNGE

SEEYA CONCERT THE COMPOSERS

SEEYA PLATFORM: ACTORS SHOWCASE

SEEYA PLAY <That’s him,it>

SEEYA STUDIO <52blue>

SEEYA PLAY <CLUB SALOME>

SEEYA STUDIO <Gone Tomorrow>

SEEYA STAGE <Perpetual Motion>

SEEYA STAGE <J.S.A.: Joint Security Area>

SEEYA STUDIO <Maybe Happy Ending>

SEEYA STAGE <Things That Remember 2015>

SEEYA PLAY <See What I Wanna See>

SEEYA STAGE <Terminal>

WOORAN EXHIBITION <Table to Share, Bowl to Care>

2014.01.07

2014.02.27 ~ 04.27

2014.04 ~ 11

2014.04.28 ~ 06.30

2014.08.23 ~ 08.25

2014.10.17 ~ 11.02

2015.02.13 ~ 02.16

2015.05.22 ~ 05.25

2015.06.29 ~ 06.30

2015.09.04 ~ 2016.01.03

2015.09.18 ~ 12.06

2015.09.21 ~ 09.22

2015.10.06 ~ 10.08

2015.10.30 ~ 11.15

2015.11.25 ~ 2016.01.10

2015.11.27 ~ 12.19

2014

2015

0706


Organization Chart

ProducerSuh Mijung Kim Youchul Park Yeseul

ManagerHeo Jeewon

CuratorChang Yunju

Brand ManagerKim Youngji

Theater ManagerShin Sanghoon

Stage ManagerWoo Junsang

Theater Assistant ManagerHwang Kyuyeon

ManagerJung Hwanhee

Performance

Crafts

Communication

Theater

Management Support Team

PresidentChey Keewon

Auditor

Board of Directors

CEOPark Joongsoo

DirectorKang Jungmo

CulturalProjectTeam

ProjectSupport

TeamGeneral Manager

Lee Yongseok

08


SEEYA the project box is a space created to present diverse cultural contents.

“SEEYA” has a double meaning: one is that it literally means “view” or “range of vision”

in Korean, and the other meaning “see ya (see you).” Extending beyond the concept

of performing arts spaces, it breaks the boundaries of creative contents by showing a

wide range of cultural projects. With a black box-type design, projects in any form can

be brought to life in a creative manner.

The logo comprised of quotation marks, signifying storytelling, and a black box, a

motif for the actual space, reflects the spatial identity of SEEYA the project box.

SEEYA the project box

BOX PLAN

HISTORY CREATIVE LOUNGE

BEHIND THE STAGE

EL FLAMENCO

FATAL INVITATION

B-chatter

SEEYA WORKSHOP <Poetic>

SEEYA PLAY <14(in) Chekhov>

SEEYA WORKSHOP <Dorian Gray>


SEEYA PLATFORM: <The Great GATSBY> Project


SEEYA PLAY <Terminal>

I HATE CHRISTMAS



SEEYA PLAY <That’s him,it>

SEEYA STUDIO <52blue>

SEEYA PLAY <CLUB SALOME>

SEEYA STUDIO <Gone Tomorrow>

SEEYA STUDIO <Maybe Happy Ending>

SEEYA PLAY <See What I Wanna See>

WOORAN EXHIBITION <Table to Share, Bowl to Care>

20122012.05 ~ 2014.11

2012.05 ~ 2013.12

2012.08.25 ~ 08.27

2012.12.21 ~ 12.25

2012.11 ~ 2013.12

20132013.02.25 ~ 02.27

2013.06.18 ~ 07.07

2013.07.15 ~ 07.16

2013.08.24 ~ 09.01

2013.08.31

2013.10.05

2013.10.25 ~ 11.10

2013.12.23 ~ 12.24

20142014.04.28 ~ 06.30

2014.08.23 ~ 08.25

2014.10.17 ~ 11.02

20152015.02.13 ~ 02.16

2015.05.22 ~ 05.25

2015.06.29 ~ 06.30

2015.09.21 ~ 09.22

2015.10.30 ~ 11.15

2015.11.27 ~ 12.19

seats

stage

2F

Total 130 seats

1F 96 variable seats

2F 34 seats

Gone Tomorrow

Maybe Happy Ending

See What I Wanna See

Club Salome

1110


The Wooran Foundation aims to create a sound environment for culture and the arts

by discovering, nurturing and promoting talents and contents in the arts sector. With

this vision, three stages have been designed and specific plans have been progres-

sively executed in order to attain our long-term objective of achieving diversity and

qualitative growth of the arts in Korea, rather than pursuing short-term goals.

PHILOSOPHY PROGRAM

Human resources and contents development for overseas stages

Performances: SEEYA STAGE

Supporting contents development centering on artists and discovering and shedding new light on domestic

and overseas contents that are of high quality

Performances: SEEYA STUDIO, SEEYA PLAY

Crafts: WOORAN EXHIBITION

Nurturing professionalsin the arts and culture sector

Performances: SEEYA PLATFORM

Phase 3

Phase 2

Phase 1

12

16 20 28

24Expansion

Cultivation & Production

Incubation

13


12


SEEYA PLATFORM is a human resources development program aimed toward cre-

ators, production staff and actors in the performing arts industry.

These training programs for professionals in the performing arts industry offer master

classes with specialists from various fields as well as other programs such as Psy-

chology Therapy and Pilates to better nurture the creative talents of the participants.

1. Composers and Writers

2. Staff_Lighting

3. Contents-based Program

1. Composers and Writers

· Open classes: Research Lab, Pilates, Psychological Therapy

· Master classes: Creative Lab and Recording

· Main instructors: Lee Jihye (music composition), Bae Samsik (script writing and lyric composition)

· Program period: 2015.03.09 ~ 07.06

15


14

52blue

· Movement training: Physical training for communicating death

(loss) through body movements (Instructor: Mime Go Jaegyeong)

CLUB SALOME

· Stage technology workshop: Automation systems using chain

motors

Gone Tomorrow

· Humanities class: A study of historical figures and context of the

late-Joseon Dynasty, centering on the Gapsin Coup, a historical

event that is central to the work (Instructor: Kang Hyunsik,

psychologist and author of “The Annals of the Joseon Dynasty

Viewed from the Perspective of Psychology”)

· Workshop on live performance recording

3. Contents-based Program

· Customized development programs for participants in SEEYA STUDIO and SEEYA PLAY

2. Staff_Lighting

· Lighting Design Workshop

· Lighting Programming Workshop

· Main Instructors: Na Hansu, Shin Ho, Gu Yunyeong, Kim Changgi, Go Heeseon, Choi Jingeun, Park Jaehyeon

· Program period: 2015.06.08 ~ 06.13

Maybe Happy Ending

· Voice training: Voice coaching and lecture on Helper Bot(robot)

(Instructor: Voice actor An Jihwan)

· Visual media (for stage) workshop: Use of 3D mapping, optical fibers,

LCD films and other new materials

See What I Wanna See

· Humanities class: A lecture on the theme, “See What I Wanna See”

(Instructor: Kim Daesik, a brain scientist and author of “The Big Question”)

· Movement training: Exploring physical movements according to the

semantics of visual media used on stage (Instructor: Choreographer

Jeong Doyeong)

· Lighting workshop: Lighting and video simulation using a light

convergence system

1716

Original work: Kim Minjung, Kim Heesu

Writer: Park Saebom

Lyricists: Park Saebom, Park Cheonhwi

Composer/Arranger: Park Cheonhwi

Director: Kim Minjung

Music director: Byeon Heeseok

Cast: An Yujin, Choi Jaeung, Park Jeongpyo, Kim Daejong, Jeong Inji

Performance date: 2015.02.13 ~ 02.16

SEEYA STUDIO is a performing arts contents development program initiated to sup-

port contents production in its entirety, from the development stage to the readings

and tryouts, in order to better develop and stage creative works. Beyond the conven-

tional guidelines and frameworks, which limit the genres and formats of creative con-

tents that can be put on stage, the studio seeks to improve the conditions for content

creators to unleash their potential and to implement development processes that are

best suited to the contents concerned. The ultimate objective of this program is to

develop contents and promote the performing arts industry.

Content creators participating in the program aim to develop their works, based on the

synopses and music they have created, and stage their respective productions within

a year. While preparing for the readings and tryouts, assistance tailored to the produc-

tion characteristics is provided to the creators in addition to the support offered for the

qualitative improvement of the contents through various experiments and evaluations.

1. 52blue

2. Gone Tomorrow

3. Maybe Happy Ending

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18

Writer: Hue Park, Will Aronson

Lyricist: Hue Park

Composer/Arranger: Will Aronson

Director: Kim Dongyeon

Music director: Park Jihun

Cast: Jeong Ukjin, Jeon Mido, Go Hunjeong


Original work: “Doraji” by Oh Taeseok

Writer(adapted work)/Lyricist/Director: Lee Jina

Composer: Choi Jongyun

Arranger/Music director: Kim Seongsu

Cast: Lee jeehoon, Choi Jaerim, Lisa, Go Hunjeong, Ji Hyunjun, Ju Jeongung, Im Changmin, Kim Chan, Choi Haram, Kim Hyeonjin


2120

Original work: “Salome” by Oscar Wilde

Director: Lee Jina

Choreographer: Lee Yongwoo

Composer/Musician: Jung Jaeil

Cast: Choi Soojin, Ji Hyunjun, Lee Dongtak, Shorty Force (Han Sangho), TIO (Yu Seongwon),

Shim Jungwan, Kim Wonmok, Lee Changyeop, Choi Yunra


SEEYA PLAY is a special program initiated to provide opportunities for the general

public to see and experience a wider range of performing arts. Artists from various

fields of the arts have a chance to collaborate together to bring forth novel works. And

quality contents that have not been staged for commercial reasons are discovered

so that they get the attention they deserve. In addition to introducing diverse cultural

contents to the general public and helping quality contents receive recognition for

their artistic quality, opportunities are provided to content creators to communicate

with audiences in a bid to promote the sustainability of the contents.

1. CLUB SALOME

2. SEE WHAT I WANNA SEE

23


22

Original work: Ryunosuke Akutagawa

Script writer/Composer: Michael John Lachiusa

Director: Kim Minjung

Music director: Lee Nayeong

Cast: Jang Euna, Park Eunseok, Jo Jina, Lee Junhyeok, Choi Jaerim, Baek Hyeonghun


24

Actor Lee Seungwon (2015.06.07 ~ 06.22): Participation in vocal and acting master classes

· Vocal master class (Instructor: Melanie Vaughan)

· Acting master class (Instructors: Michael Mcelroy, Telly Leung, Eden Espinosa)

Director Jo Minjeong (2015.06.21 ~ 07.05): Master class workshop, observation of director lessons and rehearsals,

and viewing in libraries and of performances

· Drama League workshop, The Tribeca Project: A Site-Specific Master Class Workshop (Instructor: Peculiar Works Project)

· Cherry Lane Theatre Master Class (Instructors: FUCT, Morgan Jenness, Lisa Ramirez)

· Director lessons (Instructor: Gabriel Barre)

Composer Chae Hanul (2015.10.14 ~ 10.28): Music composition and arrangement master class,

field workshop for music directors, and observation of rehearsals

· Music composition master class (Instructor: Randall Eng)

· Music director master class (Instructor: Henry Aronson)

· Music arrangement master class (Instructor: Michael Starobin)

PD Park Heekyung (2016.01.08 ~ 01.22): Acquisition of know-how in performing arts development in relation to objects

and media theater and participation in the APAP conference

· Under the Rader Festival (UTR)

· Coil Festival

· American Realness (AR)

· Association of Performing Arts Presenters (APAP)

1. PEOPLE (Overseas Training Program)

· Period: 2015.06. ~ 2016. 01.

· Participants: Lee Seungwon, Jo Minjeong, Chae Hanul, Park Heekyung

Through SEEYA STAGE, the foundation selects artists and contents from the SEEYA

program to help them realize their full potential.

Exceptional professionals in the performing arts industry with artistic and commer-

cial competitiveness are given opportunities to receive overseas training or to stage

their outstanding contents in Korea. The foundation aims to provide various types of

support to the people and contents that have been discovered to boost their compet-

itiveness in the arts sector.

1. PEOPLE

2. CONTENTS

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26

J.S.A.: Joint Security Area

· Original work: “DMZ (1997 novel)” by Park Sangyeon

· Writer/Lyricist: Lee Heejun

· Composer: Maeng Seongyeon

· Director: Choi Seongsin

· Music director: Lee Nayeong

· Producer: Choi Seongsin

· Cast: Lee Jeongyeol, Lee Geonmyeong, Im Hyeonsu, Kim Seungdae, Jeong Sangyun,

Kang Jeongu, Hyeon Seong, Choi Myeonggyeong, Hong Ujin, Lee Giseop, Bae Seunggil,

Jeong Sunwon, Jun Jinha, Jeong Yonghyeon, Lee Jeyi, Park Jonghyeon,

Lee Yunhyeong, Kim Eunchong, Jang Minsu

· Performance date: 2015.09.18 ~ 2016.12.06

· Venue: Vivaldi Park Hall, Building 1, Daemyung Culture Factory (DCF)

Terminal

· Writer: Creative Group Dock

· Director: Jeon Incheol

· Music director: Jang Hansol

· Producer: Seok Jaewon

· Cast: Kim Taehun, Jeong Jaeeun, Woo Hyeonju, Seo Jeongyeon, Lee Seokjun,

Jeong Suyeon, Kim Taegeun, Lee Myeonghaeng, Kim Juwan, Lee Changhun,

Park Gideok, Gu Dogyun, Kwon Gwibin, Lee Eun, An Hyegyeong


· Venue: Small Theater of Hongik Daehak-ro Art Center

2. CONTENTS (Linked with external performances)

Things That Remember 2015

· Director: Kim Gyeonghee

· Dramaturg: Yun Jinseong

· Sound: Yun Jeho

· Producer: Park Heekyung

· Cast: Creative Group Noni, Parkour Generations


· Venue: Seoul Street Arts Creation Center

Perpetual Motion

· Original work: Ju Homin

· Writer/Music composer: Lee Jihye

· Director: Park Heesun

· Music director/Arranger: Chae Hanul

· Producer: Lee Seongil

· Cast: Park Yeongsu, Park Jeongwon, Lee Sangyi, Kim Taehan, Lee Hanmil, Heo Gyu,

Lee Ganguk, Yu Jeyun, Park Ranju, Ham Yeonji, An Eunjin, Kim Dahye, Kim Jiung,

Kim Gyeongrok


· Venue: Hall 1, TOM in Daehak-ro

2928

The Wooran Special Exhibition sheds light on the traditional crafts of Korea to cre-

ate a foundation for the creation and development of traditional crafts using modern

technology. It also serves as a platform for bringing attention to the master craftsmen,

who have dedicated their lives to carrying on the traditions of craft-making, and their

works. These exhibitions demonstrate that traditional crafts are not something of the

past, but are still relevant to all of us in modern society.

The aim of the exhibitions is to change the common perceptions of traditional cul-

ture by presenting traditional elements using a diverse set of modern technologies

in sound, lighting and visual media. It also seeks to encourage collaboration among

artists and creators with different perspectives and converge various genres, forming

an artistic network for the creation of new works.

1. Table to Share, Bowl to Care

Curator: Kang Yoewool

Participating artists: Kang Seokyeong, Minn Thekyoung, Jinnie Seo,

Lee Youngsoon, Lee Hunchung, Jeon Sojung

Collaborating traditional craftsmen: Kim Gyuyeoung, Lee Hyunbae

Planning: Graywall

Exhibition date: 2015.11.27 ~ 2015.12.19

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INTERVIEW

INTERVIEW 1. The Moment of Discovery

Writer Han Jeongseok

INTERVIEW 2. Time of Growth

Writer Hue Park / Composer Will Aronson

INTERVIEW 3. Expanding the Stage

PD Suh Mijung

33


2015 was a year of discovery for Han Jeongseok, a young writer who debuted through

the 2013 musical, “The Goddess Is Watching.” After encountering the Wooran Foun-

dation, Han discovered the inspiration for his work, “The Red Book.” His works were

discovered by the public, and he discovered a new perspective on his area of spe-

cialization. There were many moments of discovery shared by Han and the Wooran

Foundation throughout the year.

INTERVIEW 1. The Moment of Discovery

Participant in SEEYA PLATFORM: Composers and Writers 2015,

Writer Han Jeongseok

3534


Rediscovering His Own Work

In one of the master classes, the participating writers handed out their

scripts and assigned the participants to the roles created for a reading.

Han cherishes the reading sessions, where the dialogues he had written

were verbalized for the first time. “During the reading sessions, I was

able to rediscover my own work and see them in a new light. When the

dialogues I had written were read for the first time, in their unique manner

of speaking and with new nuances, I was inspired with new ideas on

how to make them more engaging and interesting. That helped me gain

more clarity about the characters in my work.” He also recalls that his

sexy comedy piece, “The Red Book,” in particular, often made him feel

small: “There are times when I cannot maintain objectivity when viewing

my own works. I fail to see the strengths of my own works, and feel

small and insignificant. When my colleagues discover and remind me of

the strong points, I gain the energy to persevere through the hardships

and work on the matters requiring improvement. [In the case of “The

Red Book,”] there were many scenes with sexual humor, due to its con-

cept, and I was worried that those scenes would be viewed as vulgar

or despicable by the audience. On the contrary, the feedback from my

instructors and colleagues weren’t too bad. They said that the scenes

may be more engaging, even if they were a bit more sexually suggestive,

and that gave me courage and helped me set the overall tone and mood

of the piece.”

Getting Discovered and Proving Oneself

Being discovered or having one’s works discovered by others opens the

door for a writer to prove his or her potential and talent. Writers contin-

ually produce new works to be discovered by others, and this reminds

them of what their job entails. “When I first became aspired to write, I

wanted to create meaningful contents that were also engaging. I need

to find ‘meaning’ in my work so that I can pursue this endless journey

of creation without getting exhausted, and the works I create must be

‘engaging’ so that they can be truly communicated to the audiences.

When my works are finally presented to an audience, it proves to others

and myself that my work is ongoing, and this instills in me a stronger

sense of responsibility as a writer.” Han Jeongseok’s “The Red Book,”

the premiere of which was staged together with the Wooran Foundation,

was honored with the Award of Excellence at the 2015 Original Musical

Scriptwriting Contest hosted by the Arts Council Korea. That was when

his potential as a writer was proven to the world once again. “Through

the support program of the Arts Council Korea, “The Red Book” was

showcased to a wider audience. I hope to receive positive reviews to

gain an opportunity to stage it officially. Thanks to the Wooran Foun-

dation’s program, which was the impetus for all of these moments of

discovery, I was able to work in a very joyful and positive environment

last year.”

Discovery of Each Other

Han Jeong-seok first met the Wooran Foundation in 2014. Lee Seonyeo-

ng, a composer he collaborated with on his debut musical, “The God-

dess Is Watching,” took part in the SEEYA CONCERT: The Composers,

and he worked with her again as a writer. “I wasn’t a direct beneficiary

of the program, but I got to witness it from a distance and saw that the

participants got to work with the members of the Wooran Foundation in a

warm, amicable environment. I had pleasant memories of that program,

so when I was invited to participate in SEEYA PLATFORM: Composers

and Writers last year, I accepted the offer wholeheartedly, thinking that

it’d be a great opportunity for me,” said Han. PD Park Yeseul of the

Wooran Foundation, who made the offer to Han, explained, “I thought

that with Han Jeong-seok, the Wooran Foundation would be able to

create positive synergy through the program.” The relationship built be-

tween the foundation and Han since then has brought big and small

changes to his activities as a writer.

From Working Alone to Working Together

Artists typically work in solitude, and it was no different for Han

Jeongseok before he met the Wooran Foundation. “In the past, I usually

tried to work alone, independently, and I believed it was the right way,”

the writer said. Han, who used to work in isolation, began to spend more

time with his fellow writers and artists while participating in Wooran’s

program. SEEYA PLATFORM was largely comprised of open classes

and master classes that are conducted before and during the project

development, respectively. Pilates, psychological therapy and person-

ality research classes helped examine the physical and mental health of

the participants so that they can better prepare for their projects. Han

recalls, “The psychological therapy class helped me quickly befriend the

members of my team by sharing personal stories of painful and traumat-

ic experiences from the past. In the master classes, conducted after the

open classes, the participants had to present the results of their work

such as musical pieces and scripts to the class, on a weekly basis, and

had a chance to edit and improve upon their work based on the opin-

ions and feedback from the instructors and other participants. When you

work alone, you tend to make slow progress, so it was helpful to work

with others in that aspect. Instead of competing against one another, we

were moving forward together, and that helped build solidarity among

us. Competition and rankings did not exist in this program, so we were

able to encourage and support one another. Rather than being strictly

critical, we gave one another feedback that raised anticipation of the

final results, and it led to the creation of a positive atmosphere.” Han dis-

covered a way to create new contents more enjoyably, in collaboration

with his fellow writers and artists, instead of struggling alone.

3736

Hue Park and Will Aronson swept the Best Music and Best Lyrics and Composition

awards, respectively, at the 18th Korea Musical Awards and the 7th Musical Awards

for the 2012 musical, “Bungee Jumping of Their Own.” We spoke to these two, who

returned to New York after completing the original musical, “Maybe Happy Ending,”

with the Wooran Foundation, about their endless artistic journey.

INTERVIEW 2. Time of Growth

Participants in SEEYA STUDIO 2015,

Writer Hue Park and composer Will Aronson

3938


A Coincidental Happy Ending

Hue Park and Will Aronson majored in visual art and musical theater, re-

spectively, at New York University. By the time they were introduced to

each other, Park had already written the lyrics to several K-pop songs, and

Aronson had composed music for several musicals. Thanks to their similar

interests, they instantly became friends, and collaborated on a publically

acclaimed musical titled, “Bungee Jumping of Their Own,” adapted from

a movie of the same title. Aronson: After the performance run of “Bungee

Jumping of Their Own” ended, Hue and I discussed our next project, and

Hue proposed an idea about a three-person show about love and robots.

At the time, we wanted to do it, but everything was merely hypothetical

because it takes a long time to develop a small idea into an actual musical

production, without any help from a production agency. Creators need to

focus on making a living, and the projects that we really want to do can

hardly be our priority. Park: When PD Kim Yucheol of the Wooran Founda-

tion made a proposition to support the development of our musical about

love and robots, it was finally possible for the story, which I had only fos-

tered in my heart, to grow into a production. It gave me an opportunity to

sit down at my desk and write it out. “Maybe Happy Ending,” which was

successfully staged last year, may have remained hypothetical even today

if it hadn’t been for the proposal made by the Wooran Foundation.

Driving Maximum Growth with Minimal Involvement

The SEEYA STUDIO program in which Hue Park and Will Aronson partici-

pated has no set curriculum. This program, without any specific guidelines,

became the perfect tool for the artist duo to achieve maximum growth.

Aronson: Due to the risks associated with investment and profits, com-

mercial production agencies want to know where and how we plan on

spending the money and make sure that it will lead to commercial suc-

cess beforehand. That can influence the direction of the production. This

is not to say commercialism is bad, of course. It is an essential factor, and

I don’t mean to criticize it, but that’s just how it is. As a content creator, it

is something I must understand. However, the Wooran Foundation isn’t an

organization that pursues commercialism, so it felt different working with

them. It offered the optimum conditions for creators to think independent-

ly and achieve personal growth. When commercial potential is prioritized,

producers tend to prefer adapted works, but with the Wooran Foundation,

Hue and I were able to create an original musical on our own, from the

beginning to the end. Park: But that doesn’t mean the Wooran Foundation

didn’t get involved at all. They always asked us if we needed anything.

They asked us how we wanted to do the reading sessions and tryouts, and

exactly what we needed throughout the preparation process. They nev-

er opposed our proposals, and encouraged us with a positive response

saying, “Let’s try it.” They provided us with as much material and mental

support as possible, and at the same time, their involvement in the produc-

tion was minimal so that we could be free to create the production in the

direction we desired. It is a rare and valuable opportunity for creators, such

as ourselves, to work with a partner like that. Aronson: One of the things we

learned from the Wooran Foundation, which was open to every possibility,

is that “we could go even further” when it comes to trying something new.

Redefining Personal Growth

To the duo, who successfully staged the musical, “Bungee Jumping of

Their Own,” creating an original work, instead of staging an adapted work,

was exciting and challenging at the same time. Park: While working with

the Wooran Foundation, I started to think again about “personal growth.”

I think that the fact that we came to understand how it feels to have the

actors deliver the story we’ve created from nothing to the audience helped

us achieve personal growth. Aronson: I used to believe that personal

growth meant that you reached some point internally. I thought of it as

gaining better insight and skills, with a sense of wisdom that would allow

me to write excellent works, but that would have been the end of it. Now,

however, I think that the experience itself leads to personal growth. Writ-

ing and communicating that to the cast, putting on rehearsals, getting an

opportunity to edit the work, and staging the piece… What the Wooran

Foundation provided us with is an actual experience, rather than lectures

on performing arts. Studying is important, too, of course. (Laugh) I feel that

we have achieved growth through the experience of completing our own

work, without relying on someone else’s original work. We plan on staging

“Maybe Happy Ending” in the U.S. very soon. We probably will have grown

even more after that.

Viewing the Growth of the Performing Arts Culture

What they wish to communicate through their works is related to the ques-

tion: How are we living our lives? As for “Maybe Happy Ending,” they want-

ed to write about how people in modern society are obsessed with and

bound by technology and remind the audience of what it means to live

as a human being through a robot that is more humanistic than the actual

humans. Park: When people encounter scenes that are reminiscent of their

own lives, they can think again about what it means to be human and what

human lives are like. Conveying such thought-provoking messages is one

of the functions of the arts, in my opinion. Aronson: Live theaters, in partic-

ular, should be protected in that sense. Actors, who are actual people, are

present in the same space as the audience, and convey messages to the

audience right in front of them through the emotions of their characters. It is

a precious experience to be able to feel that in the same air. I’d be very sad

if such places were lost. I’m grateful to the Wooran Foundation for protect-

ing the culture that should be safeguarded by the performing arts industry

and endlessly examining the areas that could be cultivated. They allow us

continually move in the field. Park: Something that would take 10 years

for us to do alone can be finished within just a year, if we work together

with an organization like the Wooran Foundation. The Wooran Foundation

believes that their role is to assist content creators as much as possible,

and they are well-prepared to do that. Creators, on the other hand, must

remember that “Those who finish survive and become victorious.” I hope

to witness the future participants in the SEEYA program taking advantage

of the help offered by the Wooran Foundation to complete their works and

achieve growth.

4140

Behind the glitz and glamour of the stage are creators, whose work is more laborious

and physically and mentally draining than one can imagine. It is the producers who

help the artists maintain their direction in the face of such rigorous and challenging

work. The producers (PDs) at the Wooran Foundation have a special vision for the

future of the performing arts industry and have a different sense of the meaning of the

word, “expansion.”

INTERVIEW 3. Expanding the Stage

Wooran Foundation,

PD Suh Mijung

4342


Sowing the Seeds in Fertile Soil

The producers at the Wooran Foundation discover exceptional talents

and cultivate them in an enriching environment, like sowing seeds in

fertile soil. PD Suh Mi-jeong, who is mainly in charge of planning and

staging productions as well as content distribution and expansion proj-

ects, explains, “We focus on talents and people when creating cultural

contents. Everyone has different attributes and starting points. If our

programs provide support according to a set guideline, we will likely fail

to understand the actual needs of individual artists. So, instead, we try

to meet the participating artists as much as possible to listen to them,

understand their needs including the type of support they need, and

contemplate on how their contents can be developed. When you go to a

flower shop, the florist explains the ways to take care of a plant depend-

ing on the species. It’s the same for cultivating talents. Each participant

has different needs and requires different conditions to grow, so it is best

to listen to the individual voices.” Thanks to these efforts of the Wooran

Foundation, the participating creators can venture into new fields, which

is nearly impossible in the commercial performing arts industry, thereby

developing their own talents and individual attributes and discovering

their potential on their own.

Pioneering New Genres of Performing Arts

There is a prevailing stereotype that programs conducted by cultural

foundations tend to be dull and conservative, but this preconceived no-

tion will be completely shattered when one closely examines the activi-

ties of the Wooran Foundation. The foundation frees artists and creators

from commercialism and allows them to courageously yet carefully tread

the paths that have not been pursued by others. Suh says, “I hold every

work very dear to my heart, but I find “That’s him,it” special because it

was different from any other works. It was the first piece that pioneered

a new genre called the “kinetic theater.” That project entailed many new

attempts, so I find it meaningful as its producer. At the time, I wanted

to go against the current performing arts culture, where importance is

placed on the ticket selling power of the cast. I produced “That’s him,it”

with the aim of creating a production where the ‘content’ was the main

focus. While it is classified as a theater genre, it presents much more

visual information than the vocalized information conveyed by the ac-

tors, so the audience probably found it unfamiliar. It had low ticket sales,

however, much to my disheartenment.” However, the production made

an exceptional achievement of broadening the scope of performing arts

genres, which is far more significant than ticket sales, and it reaffirmed

the diversity and comprehensiveness of the programs conducted by the

Wooran Foundation.

The Flowers That Bloomed at Wooran: Where Do They Go?

So, what happens to the artists after they are nurtured through Wooran’s

programs? They are provided with continued assistance so that they can

gain independence as artists or present their works on a bigger stage, even

after the programs come to a close. Suh explains, “Plans are made in the

initial production planning stage regarding the venues where the perfor-

mances should be staged after the program. Some productions are more

suitable for Daehak-ro, while others are more appropriate for festivals or

overseas markets. In the process of attempting to distribute the contents

more widely, our top priority is to prevent any regression of the artistry of

creators and their works caused by the customary practices in the indus-

try. We try to make sure that the implicit institutions in the performing arts

industry do not influence the artistic quality of the works and that they can

be distributed more widely under sound conditions. “Terminal,” which was

supported that way, is still being staged in Daehak-ro even today, with the

production costs partially funded by the Wooran Foundation. Also, prepa-

rations are being made to present “See What I Wanna See,” which was

staged at SEEYA the project box last year, to a wider audience in Daehak-ro

this year.” The Wooran Foundation is endeavoring to help stage some of

the performances overseas. Suh explains, “In the case of ‘Maybe Happy

Ending,’ it will not only be presented in Daehak-ro at the end of this year, but

we’re planning to conduct a reading session and a tryout with an American

production crew and cast in the U.S. We will invite Broadway producers and

staff to check out the production in early October, and that will serve as a

window for us to submit it to renowned festivals. If selected, it will be possi-

ble to present it to more diverse audiences on a bigger stage.”

Building Connections Slowly but Surely

The important keywords that illustrate the expansion program of the

Wooran Foundation is “connection.” Suh explains, “There is a space, a

budget and opportunities present, but unless the participating members

are connected together, it is difficult to stage a performance. Performing

arts cannot be performed alone, and collaboration is essential. It’s a tough

time for the performing arts industry at the moment, and this can pressure

the artists and creators to seek only their self-interests, but at the same

time, it is a great opportunity to build a sense of camaraderie and solidarity.

The power to withstand hardships comes from teamwork and the bond

created among people involved. Productions created based on strong sol-

idarity show a sense of harmony even on the stage. The music and dia-

logues blend together in unison, and the atmosphere in the rehearsal room

is directly transferred to the stage. That sense of harmony has an impact

on the level of engagement of the audience. So, in order to promote cama-

raderie and development of performing arts, we have proposed a program

to donate part of our proceeds to the industry so as to help actors and

production staff who are facing difficulties. The people who are involved

in our programs acceded wholeheartedly, which I found heartwarming.”

The Wooran Foundation plans to continue making small changes to con-

solidate a strong foundation for expansion and place importance on the

process itself, rather than focusing solely on the results.

4544

PERFORMANCE

32014~2015

Cumulative audience

21,151Performance Preparation Period

52blue Maybe Happy Ending Gone Tomorrow

2 1 3

Participating staff

364 people

2015 Performances

Seat Occupancy Rate

100%

Fastest Sell-out Record

3sec

Awards3 award winners from the SEEYA PLATFORM in 2015

· 2015 Yegreen Encore: Lee Hanmil, composer of “Arangga” (Selection)

· 2015 Yegreen Encore: Ryu Chan, composer of “The Red Shoes” (Nominated)

· 2015 Musical Awards: Han Jian, writer for “Agatha” (Best Script Award)

3 awards at the 2015 Original Musical Scriptwriting Contest hosted by the Arts Council Korea

· “Gone Tomorrow” (supported through the 2015 SEEYA STUDIO program), honored with Top Excellence Award

· “Arabian Night” (supported through the 2015 SEEYA PLATFORM program), honored with Excellence Award

· “The Red Book” (supported through the 2015 SEEYA PLATFORM program), awarded with Excellence Award

“Terminal” (supported through the 2013 SEEYA PLAY program),

selected for the performance hall rental support program of the Arts Council Korea

“That’s him,it” (supported through the 2014 SEEYA PLAY program),

selected as PAMS Choice by the Korea Arts Management Service and

for the financial assistance program of the Seoul Foundation for Arts and Culture

“J.S.A.: Joint Security Area” (production supported in 2014),

selected for PAMS Link by the Korea Arts Management Service

“Perpetual Motion” (supported through the 2013 SEEYA CONCERT program),

selected for the performance hall rental support program of the Arts Council Korea

47


46

WOORAN 2016

1. Composers and WritersThis is a short-term creative education and training program for musical composers and writers that consists of research lab and open classes, master classes and production recording.

Program period 2016.02. ~ 07

2. StaffA workshop program is operated by a group of creators in connection with the contents (Play - An Elegy to the Medium of Film).

Program period 2016.07

1. Musical “Natasha, the White Donkey, and Me”Inspired by Baek Seok’s poem of the same name, this musi-cal tells a love story, centering on Jaya Kim Yeong-han whoreminisces about her romantic relationship with Baek Seok.

Scriptwriter Park Haerim | Composer Chae HanulLyricists Baek Seok, Park Haerim, Chae HanulDirector Oh Sehyeok | Music director Shin GyeongmiPerformance date 2016.02.27 ~ 02.29

PEOPLE (Overseas Training Program)This is an overseas training program offered to select few participants from the SEEYA program to help them fulfill their potential for personal development.

Period 2016.03.~12

2. New work by Theater Company Yohangza: Project ManmulsangThe theater production will be adapted from a novel and be developed into a new form of performing arts.

Director Lee DaeungPerformance date 2016.12

1. The unPlayed (Tentative title, original play) This is a play with the theme of “death.” The concept of “death,” which always goes hand in hand with “life” and causes fear and despair, is illustrated and expressed through various means using puppets.

Puppet theater writer Mun JaeheeScript writer Jung Sojung Performance date 2016.05

2. George M. Cohan Tonight! (overseas production)This is a monologue musical reproducing the performance of George M. Cohan, the legend of Broadway and the father of musical, on stage.

Actor Jon Peterson | Director Chip DefaaMusic director Richard DanleyPerformance date 2016.07

3. An Elegy to the Medium of Film (overseas production)This is a contemporary performance oriented toward audience participation that uses video and sound technologies.

Artists Lundahl & SeitlPerformance date 2016.07

4. BEA (licensed play)This is a play that sheds light on death, com-passion and sympathy.

Writer Mick GordonPerformance date 2016.11

Women’s Quarters Culture This is an exhibition on the women’s quarters where dyes, threads and fabrics are used as motifs. Traditional crafts such as hanbok, embroidery work, patchwork and beddings made by master craftsmen will be presented at the exhibition.

Exhibition date 2016.09

3. New work by Gulpan Theater Company The theater production will be developed based on a fable.

Director Oh SehyeokPerformance date 2016.12

4. New work by Theater Company Azure AgeThe production team will be developing a new theater genre based on literature.

Director Min Saerom Performance date 2016.12

3. Contents-based linked education Education programs such as humanities class and workshops that are beneficial for the participants and their works will be conducted throughout the course of SEEYA STUDIO (4 works) and SEEYA PLAY (2 works).

Program period During the performance periods

4948


WOORAN FRIENDS

Ahn Eunjin

An Hyeonkyu

An Jihwan

An Saem

An Yujin

Antique Korea

Bae Gyeongsool

Bae Haesun

Bae Imseok

Bae Nagyeong

Bae Samsik

Bae Seunggil

Bae Yuri

Baek Hyunghoon

BKMEDIA

Byeon Heeseok

Byun Hongchul

Cha Jiyeon

Cha Yungyeong

Chae Hanul

Chae Imgyeong

Cho Deukyeon

Cho Gyeonghun

Cho Hyeonggyun

Cho Hyeonjeong

Cho Insook

Cho Miyeong

Cho Yongshin

Choi Aram

Choi Daemyeong

Choi Haram

Choi Heejin

Choi Heeyeong

Choi Hojung

Choi Jaerim

Choi Jaeung

Choi Jimin

Choi Jingeun

Choi Jongyun

Choi Minyeong

Choi Mirim

Choi Seongsin

Choi Seongwon

Choi Seungoh

Choi Sujin

Choi Sumyung

Choi Suyeon

Choi Wonseok

Choi Yeongeun

Choi Yongseok

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Chu Minju

Chun Seoyeong

Dance & Dream

Do Yeon

Go Heeseon

Go Hunjeong

Goh Ison

Gong Yeonhwa

Gu Chunmo

Gu Sumi

Gu Yunyeong

Gwak Hojoong

Ha Hyeonjeong

Han Gyujeong

Han Hyeshin

Han Jeongseok

Han Jian

Han Jisang

Han Jiwon

Han Sujin

Heo Gyu

Heo Jeewon

Heo Seungbo

Heo Suhyun

Hong Jiye

Hong Sungmoo

Hue Park

Hwang Bora

Hwang Dongchul

Hwang Inchul

Hwang Seona

Im Changmin

Im Chulsoo

Im Gyeongil

Im Gyuyang

Im Hyeonsu

Im Hyoseop

Im Yujeong

Jang Euna

Jang JeongIm

Jang Seungjo

Jang Wongyeong

Jang Yoonah

Jeon Jinseok

Jeon Mido

Jeon Mihyeon

Jeong Byeongmok

Jeong Changgyun

Jeong Doyeong

Jeong eunbi

Jeong Hyerim

Jeong Hyunji

Jeong Jaeil

Jeong Jaewook

Jeong Jiho

Jeong Sanghyeok

Jeong Sangyun

Jeong Seongjin

Jeong Seungjun

Jeong Ukjin

Jeong Yideun

Jfive

Ji Hyeonjun

Jin Jeongmin

Jinnie Seo

Jo Jina

Jo Minjeong

Ju Jeongung

Jun Sojung

Jun Yongchul

Jung Inji

Kang Gukhyeon

Kang Hongseok

Kang Hyeonhee

Kang Hyojin

Kang Jeonga

Kang Jiyu

Kang Minji

Kang Minsuk

Kang Myungseok

Kang Seokyeong

Kang Seongmin

Kang Yoewool

Keystone Media

Kim Bohyeon

Kim Boyeon

Kim Byeonggeuk

Kim Chan

Kim Changgi

Kim Changhyeon

Kim Daehyeon

Kim Daejong

Kim Daesik

Kim Deuri

Kim Dohyeon

Kim Dongwoo

Kim Dongyeon

Kim Dooyi

Kim Eunjeong

Kim Gukhee

Kim Gyeonghee

Kim Gyeongno

Kim Gyuyeoung

Kim Heesu

Kim Hogeun

Kim Hyeonjin

Kim Hyojeong

Kim Jemin

Kim Jeongeun

Kim Jeongha

Kim Jeongyeon

Kim Jieun

Kim Jihun

Kim Jinhyuk

Kim Jiyu

Kim Jongbum

Kim Jonghan

Kim Jongim

Kim Joon

Kim Juntae

Kim Lee

Kim Mingyeong

Kim Minjae

Kim Minjeong

Kim Miran

Kim Miyeon

Kim Munju

Kim Namsun

Kim Naree

Kim Naun

Kim Ryeowon

Kim Seongchul

Kim Seongtae

Kim Seongwoo

Kim Sohyun

Kim Suryang

Kim Taehee

Kim Taehyeong

Kim Taekseok

Kim Wonmok

Kim Yeongbin

Kim Yeongeun

Kim Yeongmi

Kim Yeongyong

Kim Yushin

Ko Jaegyeong

Ko Sangho

Kwon Gayong

Kwon Junhee

Kwon Migyeong

Kwon Sunjae

Lee Aeri

Lee Areumsol

Lee Baehee

Lee Bumjae

Lee Byeongoh

Lee Changhee

Lee Changyeop

Lee Donghwan

Lee Dongtak

Lee Eunyeong

Lee Geonhyeok

Lee Geonmyeong

Lee Gyeongsu

Lee Hanmil

Lee Heejun

Lee Hunchung

Lee Hyemi

Lee Hyeongseok

Lee Hyeonjin

Lee Hyeonsu

Lee Hyunbae

Lee Jaejun

Lee Jahyeon

Lee Janghan

Lee Jeehoon

Lee Jeonghun

Lee Jeongmin

Lee Jeongwoon

Lee Jieun

Lee Jihoon

Lee Jihye

Lee Jina

Lee Jinhee

Lee Jisu

Lee Jisuk

Lee Jiyun

Lee Juhee

Lee Junhyeok

Lee Minhee

Lee Minji

Lee Nayeong

Lee Sangchun

Lee Sangyi

Lee Seojin

Lee Seongjun

Lee Seongsik

Lee Seonyeong

Lee Seunghee

Lee Seungwon

Lee Sohee

Lee Soogyeong

Lee Suyeon

Lee Yeongeum

Lee Yeonjeong

Lee Yong

Lee Yongwoo

Lee Youngsoon

Lee Yujin

Lee Yunjin

Lee Yunseong

Lighthouse

Lisa

Maeng Seongyeon

Michael Lee

Min Kyeonghwan

Minn Thekyoung

Moon Hyejin

Mun Changhyeok

Mun Hyemin

Mun Jaehee

Na Hana

Na Hansu

Na Sunggil

Nam Jeonghun

Nam Sehun

No Wooseong

Nu Dasim

Oh Hyeonhee

Oh Jaeguk

Oh Seongmin

Oh Seunghyeon

Park Bogyeong

Park Cheonhwi

Park Dongwoo

Park Euijeong

Park Eunseok

Park Haerim

Park Heekyung

Park Hyeonjeong

Park Hyeri

Park Hyeyoung

Park Hyunyi

Park Jaehyeon

Park Jeonga

Park Jeongpyo

Park Jihun

Park Ranju

Park Saebom

Park Sangwook

Park Soyeong

Park Yeongju

Park Yeongsu

Park Yongho

Poet de L’eau

Prix Media

Systems

Pyo Sanga

Ryu Chan

Ryu Gyeongju

Ryu Yeonung

S_TAGE

Seo Donghee

Seo Eunjin

Seo Jisun

Seo Sukjin

Seo Yeongwan

Seol Gamin

Seone Stage

Seong Sowon

Shadow II

Shin Cheongyun

Shin Euijeong

Shin Eungyeong

Shin Gyeongmi

Shin Ho

Shin Hyejin

Shin Hyesun

Shin Jia

Shorty Force(Han Sangho)

Show Motion

Sim Boram

Sim Jaewook

Sim Jeongwan

Sim Mimi

Sim Seolin

Sim Wootak

SJ Music

Song Seok

Star Networks

Tae Gukhee

TIO(Yu Seongwon)

Total Korea Inc.

Wang Eunji

Wang Yongbum

Will Aronson

Woody Pak

Yang Hana

Yang Hyejo

Yang Junmo

Yang Misuk

Yeo Shindong

Yoo Kyungah

Yu Juhye

Yu Minkyu

Yun Boram

Yun Hyeyeong

Yun Hyungryul

Yun Jeho

Yun Jinseong

Yun Minchul

Yun Soho

5150


Date of publication February 2016

Publisher Chey Kee-won

Publishing organization Wooran Foundation

Address 60, Jangmun-ro, Yongsan-gu,

Seoul, Repubic of Korea

Homepage www.wooranfdn.org

Tel. 070-7606-5577

Email [email protected]

Design Vistadia

Photograph Seoul Studio

Interview Photographer Mun So-young / Hwang In-chul

www.wooranfdn.org

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