It all begins with a thread from her father’s overcoat. Little Yao Yao does not want her father to leave for office, and keeps tugging at his coat, to stop him. A thread from his attire leads into a whole new world filled with an elephant, her own grandmother and colorful doodles. Yao Yao, a play by the South Korean BRUSH Theatre wove together screen art, puppetry, and fun props like colourful pom poms and yarns to capture this imaginary world.
The play, part of The Little Theatre’s The Little Festival and presented by the InKo Centre in association with the Ministry of Culture, Sports and Tourism and Korea Arts Management Service, was performed at the Museum Theatre, much to the delight of the sea of school children who had gathered to watch it.
Especially fascinating, was the screen art, that involved the actor interacting with a screen displaying sketches, a pair of eyes that moved every time Yao Yao did something mischievous, and a magic trunk that shot out from one side that made the whole installation look like an elephant!
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The child in them
Screen art is a popular theatre device that they usually use, said Taegwan, one of the actors. “It represents the sketch book of Yao Yao and hence her imagination. Children see it as their ideas springing to life.” Taegwan added that he feels a deep cleansing inside every time he encounters the curious eyes of his little spectators. Lee Heeae, who played Yao Yao, said she had to go back in time when she was a child and imagine her father. Heeae said she does not see the screen as just another prop. “The people who are operating the screen art and music are real people. I am interacting with people. When I am playing with the trunk, I am not just using a prop, but performing with my co-actor behind the screen who is controlling the trunk.”
In South Korea, everyone admires the medium of theatre, but it is a risky job, full of financial hurdles. “That’s why I find meaning in touring around and meeting different kinds of people,” said 27-year-old actress, Heeae. Theatre culture in South Korea is strong; however, plays for children are limited. They take children as real audience, said Byung Wook, another actor. “We want to journey with the kids. Our slogan is, ‘brush up the inner child in you’. We believe we become children again, when we are on stage.”
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The five-production-old troupe started performing first in the Edinburgh Festival Fringe in 2014, one of the largest art festivals in UK, where artistes from all over the world gather to perform. “That opportunity opened our eyes to have a deeper interest in children. And, we have been performing ever since,” says Wook. They performed Yao Yao and The Tiniest Frog Prince in the festival. “The experience gave us the confidence to start a theatre club. We wanted to focus not only on Korea, but also the whole world, and expand our theatre experience.” The group has toured Iran, China and South Africa with their plays. “Recently, we have been doing elementary school tours in Korea, and trying to broaden our popularity,” said Wook.
Being playful
The rehearsal space is always a happy one. They usually start working for a production, by joking around and picking topics that inspire and touch children. “We try to have fun. And, everybody contributes to the discussions. That could stir up debates. The ultimate goal is having a true experience with the audience,” explained Taegwan.
The troupe consists of 12 people. Their director is also their voice coach, lyricist, teacher and composer. “All of us take turns in acting, organising, managing shows and taking care of lights. We do not want to label ourselves,” added Wook.
Yao Yao ’s live orchestra blended sounds of keyboard, piano, shakers from South Africa, Korean cymbals and four different percussion instruments. According to Sangguon Seo, the director, who is also the musician and voice coach of the team, they always wanted to make a universal production that everyone can relate to. “As a director, I just organise the ideas brought to the table. The actors participate in the ideation and discuss on the craft. My job is to only ensure that everybody in the audience is feeling touched the same way and see whether the drama is going smoothly.”