Tree Won’t Seek for Shoe Store

greenpig

나무는 신발가게를 찾아가지 않는다  
  • Production greenpig
  • Original Text Yoon Youngsun
  • Additional Text Jeon Seonghyun
  • Conceived and Directed Yoon Hansol
  • Date 10.6.Thu.-10.7.Fri. 7:30pm
    10.8.Sat.-10.9.Sun 3pm
  • Genre Theater ●●●●●
  • Rating 12 and over
  • Venue Daehakro Arts Theater-Small Hall
  • Duration 80min
  • Premiere 2012. YOON Youngsun Festival/Joungbo Little Theater
  • Ticket 30,000KRW
  • Barrier-Free English subtitle is operated on Oct 9(Sun) 3pm

 

greenpig’s environmental trilogy sheds distorted light on the world today!
 

greenpig’s play <Tree Won’t Seek for Shoe Store> contrasts the development of civilization and the paradox of humans to <Tree> by the poet Yoon Yeongsyn. Various episodes briefly intersect over Yoon’s poetic and melancholic languages, narrating “a fable no one has heard of”, brought into the world from greenpig’s perspective.

Synopsis

Starting with a 7-page long draft by Yoon Youngsun, the play was further developed and reshaped by the greenpig actors, director Yoon Hansol and co-creator Jeon Seonghyun. The motifs of the play come from fairy tales, myths, classics and imaginations. Four episodes intersect in the play: <Monkey Flower Shoes> based on a children’s story by Jeong Hwichang at the core of the play; <Fetal Chatting> on bipedalism and the origin of pain; <Contract> on a negotiation between a fetus and its mother; and <Tree Won’t Seek for Shoe Store> on a father’s death and human integrity. On the stage is a mountain of waste made of scrap fabrics from a sewing factory, creating a grotesque atmosphere and signifying the end of humanity. In particular, the image of “a fetus that would not hope to be born” makes one imagine an extremely realistic dystopia.
Although greenpig’s works may seem micro-historical, they narrate the other aspects of the world at the same time. Climate change has become more relevant compared to 10 years ago when the play was first performed. The play sheds light on where our civilization stands, while identifying the direction humanity must take in the period of crisis.

Director
윤한솔 Yoon Hansol

Directed by Yoon Han-sol

A director who dissembles and re-assembles the aspects of the contemporary society on the stage



With the conviction that only art can portray the world accurately, Yoon Han-sol refuses to talk about dream and hope on the stage. Rather, he seeks to offer a new perspective on the opposite sides of the time on the stage to take a step closer to the essence.
Some of his famous works include (2012), (2012), (2014), (2016), (2020) and (2021). Yoon won the 18th Kim Sang-yul Award for Theatrical Performance in 2016, the 5th Korean Drama Award for in 2012 and the 2nd Doosan Artist Award in 2011.

Credits

Original Text | Yoon Youngsun
Additional Text | Jeon Seonghyun
Conceived and Directed by | Yoon Hansol
Sound Designer | Jeon Minbae
Lighting Designer | Choi Boyun
Music | Ohmbre
Costume Designer | Ondal
Assistant Director | Park Hyeonji, Ju Eungil
Assistant Lighting Designer | Kim so hyun
Production·Stage Management | STAFFSEOUL Co.,Ltd
Grahpic Design | Workroom
Created by | greenpig
Cast | Kang Jiyeon, Kim Yonghee, Kim Wontae, Park Subin, Park Yujin, Lee Dongyoung, Lee Joohyung, Lee Jiwon, Lee Seunghun, Jeong Yangah, Jeong Yeonjong

greenpig

Seditious imagination

greenpig is a group of passionate actors who aim to create new plays with the conviction that a thought can change the world. They came together to create plays that diagnose our civilization, which continues without doubt or being questioned. They came together to create plays that contemplate on the progress of theme and art form. greenpig’s works are manuals and tools for resistance and exodus.

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  • ‘The fetus’s attitude sets an avant-garde target that does not compromise with its life at present. At the same time, it establishes the attitude of cynicism and hatred on the current times. Therefore, this is about the contemporaries, rather than the current times, or the criticism against the construction of a nuclear power plant.’
    - Kim Min-kwan, Chief Editor, Artscene / 2022
  • ‘Yoon Yeong-seon was an artist who used to say that an authentic language comes to life only when numerous other languages pass through and cross over your own. This play was an active response to the waiting Yoon has left open to be fulfilled.’
    - Lee Kyung-mi, Critic / 2022
  • ‘This work left me in a confused state; it’s hard to tell if it’s a fable or a true story. Its limitless experiment is much more thought-provoking than lines from traditional drama.’
    - Yi Kyu-seung, Critic, OhmyNews / 2022
  • ‘Although the play talks of far-reaching themes, it doesn’t weigh you down. You just swing back and forth between laughter and goosebumps, immersed in a not-so-fable-like fable that sounds like a true story. Watch it again, you might notice something new.’
    - Kim Se-woon, Journalist, Voice of the People / 2022