대한민국 국기 Republic of Korea

Camel Xiangzi

Playfactory Mabangzen

낙타상자 Camel Xiangzi
  • Original Lao She
  • Adaption 钟文农
  • Director Sun-woong Koh
  • Date 10.17.(THU) 8pm
    10.18.(FRI) 8pm
    10.19.(SAT) 3pm, 7pm
    10.20.(SUN) 3pm
  • Tickets R 40,000 S 30,000 A 20,000
  • Premiere 2019 5. Daehakro Arts Theater, Main Hall
  • Rating 12 and over
  • Duration 100min
  • Venue Daehakro Arts Theater, Main Hall

We do not know where this falling will be ended. But as long as we fall, life goes on. A turbulent life of a rickshaw boy Xiangzi who comes from a rural village to Beijing

About the performance

Camel Xiangzi is a 1937 novel by Lao She (1899-1966), one of the representative humanist authors in the history of modern Chinese literature. It depicts the life of a fictional Beijing rickshaw boy. This modern novel was translated into English in 1954 and widely known in the Western world as well. The performance Camel Xiangzi , whose shows were all sold out at the 2019 Seoul Theater Festival, is performed by the Playfactory Mabangzen. Director Sun-woong, Koh dramatized the original text of Peking opera to stage the text. It is not a revival of a Chinese classic but a play for everyone combining wit and humor. On the theater stage which has no boundary of space and time, and with the director’s exceptional moderate directing style, the play vividly depicts cruel exploitation and misery of the early 20th century’s lower class people by telling us the story of a rickshaw boy.

Synopsis

"A rickshaw man is the wind. He is becoming like the wind.”

To a poor but hardworking rickshaw man Xiangzi, his rickshaw is special. He even appoints the day when he buys the rickshaw his birthday.


“I am pleased because my rickshaw looks great.
Running with my two legs, I hear the wind. There is nowhere I cannot go.”


But Xiangzi’s life falls ceaselessly.
War without mercy, confused society, financiers’ exploitation...

Although they are in different circumstances, people have a certain ceaselessly repeated situation. The same is true in different space and time. To low-income people, life is always irrational and illogical.
Nonetheless, this story does not become pessimistic about life.
To tell us about hope, it first looks into despair to make us think about the next step.

Director
고선웅 Sun-woong Koh Sun-woong Koh
A Playwright-cum-Director recognized for delightful and brilliant reinterpretation of classics and fresh ideas in direction

Since he made his debut with the play The Woman in a Sad Landscape in 1999, Sun-woong Koh has firmly believed that a play must provide the public with pleasure, emotional fullness and love because a play is a type of ‘play.’ With such belief, he has presented performances of different genres: On a Green Day, Seed of Revenge, Macbeth (plays), Arirang, Gwanghwamun Love Song (musicals), Madame Ong and Heungbo (changgeuk (Korean pansori operas)). He currently serves as the artistic director of Playfactory Mabangzen.

Credits

Translator and Dramaturg | Soo-kyung Oh
Director | Sun-woong Koh
Producer | Kang-min Ko
Music Director | Dong-wook Kim
Choreography | Mi-kyung An
Set Design | Jong-seok Kim
Light Design | Back-hee Ryou
Costume Design | In-sook Choi
Make-up Design | kyoung-suk Jang
Assistant Director | Da-sol Jung
Stage Assistant Director | Yong-ui Zo
PD Production PD | Eun-kyung Lee
Cast | Chang-ho Seo, Yong-cheol Jang, Jae-ho Jang, Jung-hoon Lee, Euy-jun Hong, Yeong-no Kim, Go-myung Son, Kyoung-sik Won, Byeol Park, Jin-gu Lim, Ja-young Hong, Ha-yoon Choi

Playfactory Mabangzen

Founded by playwright-cum-director Sun-woong Koh in 2005, the theater company has performed actively not only in Korea but also in many other countries such as UAE, Chile, Turkey and China. Carrying the banner for ‘magical realism,’ the Company focuses on expressing the world’s bizarre phenomena and characters. Their goal is to find the original form of the theater and to return to it.

  • photo 1/6
  • photo 2/6
  • photo 3/6
  • photo 4/6
  • photo 5/6
  • photo 6/6
  • The tragic moments in the story fly in the air with musical energy covering the actors’ poetic and repetitive lines which characterize Peking opera in the style of Sun-woong Koh. The performers’ humorously choreographed movements are not exactly in sync with their lines so they do not force the audience to squeeze out a tear.
    – Ae-jin Kwon, News Free Zone
  • The lines have their own unique taste. Exaggerated expression of lines and movements, laughter and humor as twists at dramatic moments, the performers who never look funny while tripping and falling... These elements all contribute to their style of making the audience feel as if they were reading a sentence in a novel.
    – Young-shik Kim, With In News