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A little bit of ‘anxiety,’ a little bit of ‘rage’ - what if we mix them up with ‘guilt’ and put them in ‘mistakes’? We get funny chemical changes. Based on Kyung-wook Kim's short story of the same name, <Spray> describes the lives of modern city people who spend each night in extreme anxiety, anger and tension in their daily lives. The story is driven by the constant noise from next door, rudeness and miscommunication, obsession about mistakes, kleptomania caused by accidental mistakes and an interest triggered by anger.
<Spray> expresses the psychology of the novel’s characters using spatial expansion, reduction, division, movement as well as different effects of light. Through the process of changing the novel's “he” to “I,” the objective point of view is changed to a subjective one, and only the spaces that are necessary from his point of view are created on stage. As the stage expands and shrinks in response to the main character's psychology, his emotions are imagerized as changes in space. The audience sees the world on stage through the actors’ body, while they move between square frames to create the space, the world. The world created by the frame, light and actors’ movements are fascinating magic that lets you see the truth through illusion.
The man living in #709 could not sleep the whole night because his neighbor’s cat cried and the next day he ended up bringing a parcel for #109 by mistake. Feeling thrilled at opening someone else’s parcel, he begins to steal other people's parcels intentionally. His sleepless nights continue, because of the neighbor’s cat and woman next door who comes home late at night. However, his complaint gets often ignored by her rude response over the interphone. On another day of continuously stealing parcels, the man finally finds one for her. He steals it, wanting to take his revenge. But what's in the box turns out to be the body of his neighbor's cat...
Since his debut in 1998 with <Train Station>, a one-act dumb show which adapted Raymond Carver’s short story The Train, director Cheong-euy Park has worked on creating ‘new theatrical language centered around images’ portrayed with movements and rhythms in: <The Visit>, <A Big Lie>, <Like A Slave>, <Victoria Station>, <Guernica> and <All About Shakespeare>. After founding Choin Theatre in 2003, has gained attention with outstanding nonverbal pieces such as <Train – The Warmest Play in My Life> and <A Fairy Who Became A Prostitute and the Woodcutter>. He’s been actively creating solid works such as <Hotel splendid>, <An Actor’s Sad Melodrama - Macbeth>, <Rail road>, <Victoria Station>, <Accidents>, <A Fairy Tale Longing>, <Guernica>, <The Ultimate Climax - Macbeth>, Musical <Spring Days>, Musical <Hansel and Gretel>, <The Glass Menagerie>, <Sound of Flute> and <Spray>.
Original ｜ Kyung-wook Kim
Director, Adaption ｜ Cheong-euy Park
Lighting Design ｜ Yeon-yong Park, Young-sub Jang
Music ｜ Seon-hyeong Cho
Dramaturgy ｜ Hye-yoon Jeon
Video Director ｜ Jong-chan Choi
Video Design ｜ Yoon-kyung Bae
Choreographer ｜ Jeong Yoon
Photographer ｜ Min-hyung Hwang
Assistant Director ｜ Min-hyung Hwang
Lighting Operator ｜ Min-kyu Kim
Sound Operator ｜ Won-hee Lee
Technical support for fog screens ｜ Sogang University's Sogang Media Lab
Planning ｜ Tae-kyu Ahn
Cast ｜ Sang-hee Lee, Jung-ah Kim, Hoon-hee Lee, Ha-jin Kim, Su-wan Kim, Jae-hyung Choi, Eun-kyung Shin, Young-gun Kim, Jong-seung Ko
Choin Theatre intends to reveal the insignificance of human beings who struggle in this huge social structure. The actors are clumsy, clown-like and moving comically. They are the epitome of foolish human beings who cannot understand the enormous power that turns the wheels of society and history, but they haven’t lost their innocence. Choin’s acting method is a process of bringing a character's mind into breaths/rhythms and developing them into movements. In that process, set pieces(props) are used as tools to reveal the symbolism hidden in the text and to express the actor’s emotions with breaths and movements. Thus, Choin’s actors go through a constant process of studying, making and modifying makeup, props, costumes and set pieces with the technical staff. The work of Choin Theatre searches for the ways of expression and imagination only possible in theatre, different from cinema or TV dramas. In the belief that spatial and temporal limitations can actually provide stronger imagination and images, Choin Theatre is trying to create a language unique to theatre performances.