'Changgeuk' captivates new generation

Kwon Mee-yoo

Last week, the hottest ticket in Seoul was the National Changgeuk Company of Korea's (NCCK) "Lear." This “changgeuk,” which is a genre of traditional Korean opera, enjoyed a limited nine-day engagement at the Daloreum Theater of the National Theater of Korea. With just 500 seats available, tickets for the entire run were snapped up well ahead of its opening night.

The changgeuk adaptation of Shakespeare's tragic tale masterfully intertwined the tale of King Lear's descent into madness with the deep Korean emotion of "han," symbolizing grief and sorrow. Moreover, it wove in the philosophical views of Laozi, particularly the concept that "Heaven and earth are not benevolent," offering an understanding of nature bridging the East and the West.

This is not the first time that an NCCK production has sold out. Last summer, the changgeuk version of "The Merchant of Venice" sold all tickets for the 1,200-seat main Haeoreum Theater of the NTCK. Before that "Jeong Nyeon," a changgeuk portraying a coming-of-age story of a "gukgeuk" (female version of changgeuk) performer in the 1950s based on the webtoon of the same name, also sold out ahead of time in March 2023 and the company added three extra performances in response to the overwhelming popularity.

In 2019, the NCCK premiered a changgeuk adaptation of "Farewell My Concubine," inspired by the film with the same title, to a sold-out audience. This production enjoyed such popularity that it saw a successful revival in 2023, once again selling out.

Changgeuk's journey from a spinoff of “pansori” in the early 1900s to today’s stage proves its evolving appeal. Traditional pansori, featuring a single vocalist accompanied only by a drummer, laid the foundation for changgeuk to expand its narrative canvas, allowing a diverse cast to breathe life into each character and broaden its theatrical and emotional scope.

The versatility of changgeuk is evident in its source material, which spans from classic pansori repertoires to Shakespeare’s dramas and even contemporary Korean webtoons. This breadth of storytelling showcases changgeuk’s ability to adapt and resonate with audiences across generations.

Previously perceived as an outdated art form, changgeuk is experiencing a renaissance, attracting young theater enthusiasts with its diverse and inventive offerings. This resurgence is propelled by the talents of distinguished creators and performers who infuse each production with creativity and depth.

"Lear," for instance, is the brainchild of a collaborative effort by choreographer Jung Young-doo as director and playwright Pai Sam-shik with pansori compositions by Han Seung-seo and additional music from "Parasite" composer Jung Jae-il.

The international dimension of changgeuk is expanding beyond Korea, attracting globally recognized talents to its productions. German director Achim Freyer lent his expertise to "Mr. Rabbit and the Dragon King," a piece inspired by the Korean pansori story "Sugung-ga," in 2011. Romanian American director Andrei Serban offered a fresh take on "Chunhyang-ga" with his production of "Different Chunhyang."

Singaporean director Ong Keng Sen achieved acclaim with his Korean-styled interpretation of the Greek tragedy "Trojan Women," while Taiwanese director Wu Hsing-kuo led the production of "Farewell My Concubine" in the changgeuk format.

This cross-cultural collaboration enriches changgeuk, offering fresh perspectives and innovative interpretations.

At the forefront of changgeuk's rising popularity stands Kim Jun-su, a 32-year-old pansori performer who has been with the company since 2013, marking him as the youngest member since its inception in 1962.

Kim's versatility is evident in his expansive repertoire, which includes playing a variety of roles from traditional Korean figures like Mong-ryong and Heungbo to iconic Shakespearean characters such as King Lear and Shylock. His delicate portrayals of Helen in "Trojan Women" and Consort Yu in "Farewell My Concubine" highlight his skill in gender-bending roles, a testament to pansori's tradition of versatility, where performers adeptly embody characters of any gender or age.

Changgeuk’s artistic achievements have not only revitalized domestic interest but have also garnered international acclaim.

"Trojan Women," for example, toured European capitals in 2018 before making a notable appearance in the U.S. at the Brooklyn Academy of Music in 2022 and in the Edinburgh International Festival in 2023. This global recognition cements changgeuk's place in the world of performing arts,

The upcoming performance of "Lear" at London’s Barbican Centre is particularly symbolic, bringing a Korean interpretation of Shakespeare to the playwright’s homeland. This international tour represents not just the exportation of Korean culture but the global exchange of artistic ideas, contributing to the broader "hallyu," or Korean wave.

Kown Mee-yoo is K-culture editor at The Korea Times