Interview with Yoonsoo Kim, Choreographer of “Silla”

Based on the ancient Persian epic, ‘Kush Nama’,

‘Silla’ is a performing arts that describe the great epic with the fantastic stage arts.

And Yoonsoo Kim, the choreographer of the show delivers the story through the arts of body

and his dance is mainly consist of Korean traditional dance which is very beautiful and dynamic.

Here below the interview with him.

Yoonsoo Kim, Choreographer of ‘Silla’
The top dancer of the National Dance Company
Awarded by ‘Kim Baikbong Arts Arward’

Q. What is your point on the choreography of “Silla”?
-I focused on the cause-and-effect in the story. In other words, the flow of the story and the fantasy.
Therefore, I have thought many times on the motions and description replacing dance to describe the changes of the character.
For example, at some point, the characters move all together like one person.
On the other hands, each character has its own personality and specific figure to show the crash of ideologies from one and another.
Also, I tried to complete it under the scrip and the direction of the director.
Q. You might have concerned a lot following the director’s structure of new genre and concepts. 
– Seongsin Choi, the director, is very creative person who always creats a new direction.
I think, therefore, he could created this performance which is created as new genre.
 New ideas from the staffs support the creative thinking of the director
and they complete the new genre and the structure of this performance.
The new genre which is so called ‘performance like a show’ is completed by the equipment including the stage and the light.
And the dance maximizes the story describing the flow.

Q. Then what is the role and the effect of the dance in the performance where the technology of stage is maximized?
– It is required to have a medium that connect the technology, the story and the characters.
I think, ‘Dance’ is the importance medium which give the connection.
Through the dance, the equipment and the space are explained.
While the stage equipment and the music attract audiences’ audio-visual sense,
the dance attracts their emotion and helps them to understand the story.

Q. Actually, the visual distinction between the people from Silla and the people from Persian is clear.
Do you have any distinction on the dance between the two ethnics?
– As you mentioned,
the two ethnics are distinguished from one and another one dimensional way including the stage, costumes, and lights.
In addition, it is required to consider there cultural communication tradition such as motion and language.
Unfortunately, there are not many resources regarding Persia.
Therefore, the imagination is required.
As Persia is masculine nation, it is described as military culture using dynamic and powerful motion.
On the other hands, Silla is described as the opposite style such as soft and tolerant world.
From the distinction of choreography describing the two nation,
it is clear to see the good and the evil when the two nation appear at the same time.

Q. I’ve heard that the choreography of upgraded ‘Silla’ is based on ‘Korean newly arts dance(신무용)’
Could you please explain about the ‘Korean newly arts dance’?
– The meaning of ‘Korean newly arts dance’ is  ‘a dance which is newly created from 1920 in Korea’.
The genre is a importance cultural asset for the history of modern dance in Korea.
Because it is a bridge between the traditional dance and contemporary creation.
Most distinguished part which shows ‘Korean newly arts dance’ is the finale which consists of ‘Hyangbalmu’.
It is really attractive dance in which dancers hold ‘Hyangbal(Small percussion)’.
I borrowed elements of the ‘Korean newly arts dance’
while the whole dance structure is distinguished from the ‘Korean newly arts dance’.
Also, every elements including stage, light, costumes and make-up are well harmonized in the finale.
The ‘Korean newly arts dance’ is reflected as ‘old styled dance’ or ‘traditional dance’ but it is still realized on the stage with new format.
I hope I could retain the dance for the future.
Q. Do you have any specific philosophy as a choreographer of Korean dance?
– Korean dance has a long history. Therefore, it is required to understand its history and meaning through the dance.
I  feel a call to present the dance with the deep value of Korean dance as well as to transform it contemporary value.

2017 Jeongdong Theater Gyeongju Brand Performance

Performing Art <Silla>

▶Period : Until December 31

▶Time : Mon-Sat 7.30 pm (No performance on Sundays)

▶Venue : Gyeongju World Cultural Expo Theater (Cultural Center)

▶Ticket : VIP 50,000 won / R 30,000 won / S 20,000 won

▶Inquiry : +82-(0)54-740-3800


Please click to access the reservation page


Interview with Han, Sung , the Persian prince of Musical ‘Silla’


Interview with Han, Sung.

An actor in the role of Abitin, the strong Persian prince.

The hero of musical ‘Silla’, Abitin is the Persian prince.

He is swept and is shipwrecked in Silla.

Finally, he falls in love with the princess of Silla; Frarang.

However, he has to go back to Persia and meets his death in his home because of the attack by the devil, Jahak.

Here below the interview with Han, Sung, who plays the role of Abitin!


1. Why and when did you start dancing?

Actually, I didn’t have any special reason to start dancing.

 I just decided to go a high school of arts with my friend

and I keep dancing for 17 years.


2. How meaningful the musical ‘Silla’ and the role ‘Abitin’ is for you?

Actually, I have thought a lot about this after receiving this question.

As for Silla, it is a new history which is not well-know to the world!

And I think Abitin is the storyteller of the history.

Actually, this role is a new challenge and new experience for me.

Personally, this role is a chance to show my potential power and energy as a dancer.

3. What was your preparation to describe the role?

I just concentrate to the acting, thinking that my role is a story teller.

Because I think it is more important to deliver the story to the audience than to show something special.

And this character has various images in a time sequence so I concentrate to show them as well.

4. Do you have any thing have to do or have not to do before going on the stage?

Yes, I have. Actually it is not for me but for others.

I try to remind the sequence before going on the stage.

This is time for self-checking and for condition checking. Also, checking the dance note!

Also, I put a sole of my foots on the stage to feel it.

During the time, I recognize the weather, my condition, the air and temperature on the stage

and decide how to use the energy.

And I try not to be effected by the situation and try to concentrate my self.

5. What is the best scene for you?

Actually, I have some scenes but I would like to talk about the scene of the battle with ‘Jahak’.

This scene is crucial because Abitin meet the death here.

This scene consists of the collaborative dance with other dancers.

Therefore it is important to be considerate to others.

Also, in this scene the dense energies exploded so it could be the best scene.

6. Musical ‘Silla’ is developed for 3 years and the performance of this year is also upgraded comparing with last year.

What do you think the viewing point is?

First of all, it became easier to understand.

Also, costume changes, media arts and magics are added in to the performance.

And the scene of Samul-nori is the viewing point to fell the Korean beauty and excitement.

I hope the audience enjoy this parts.

7. Do you have any method to act? 

Actually it is hard to say exactly. 

I just don’t think to be the character but make my own character.

And I think that it is the method to have the truth for acting.

It is hard to do something that I didn’t know about.

Therefore, to act a character, it is needed to have long time and process to make it clear.

8. Please give a last word for the audience!

It is been already 3 years that I perform for Silla in Gyeongju.

This city has not a big demand for culture and arts but I think this performance is worth.

Because many actors and staffs work for this faithfully and they keep working!

Therefore please come and see the performance more!


2017 Jeongdong Theater Gyeongju Brand

Performing Art <Silla>

▶Period : Until December 31

▶Performance time : Mon-Sat 7.30 pm (No performance on Sundays)

▶Performance Venue : Cultural Center, Gyeongju World Culture Expo

​Tickets : VIP 50,000 won / R 30,000 won / S 20,000 won

▶Inquiry : +82-(0)54-740-3800

 Please click to access the reservation page.


‘Silla’ Interview with ‘Byeol-yi Seo’ playing role in Frarang

‘Silla’ Interview with ‘Byeol-yi Seo’ Playing role in Frarang

Hi 🙂

I finally have had an interview with Frarang!

Thanks for Byeol-yi to join the interview!

1.  Please explain the character of ‘Frarang’ in one word.

As I act Frarang, one word ‘Lady’ is reminded.

A word ‘Mother’ also came up but ‘woman’ is more fit to it.

‘Woman’ literally means ‘ A woman who became an adult’.

Sometimes she is alone but finally strongly overcomes the loneliness.

Therefore, I would like to give the word ‘Lady’ to Frarang.

‘Lady’ has strong meaning.

It is an word to explain ‘to become a real adult having a wide heart to embrace everything’.

2. Which part do you have concern to describe Frarang?

I think that it is important to describe the change of Frarang through the time and her age.

I have focus on acting to show the Frarang’s growth in the whole story.

At the first scene, she is 16 years old who falls in love with Abitin and has separation with her lover.

And it takes very long time to have her baby, Feridun.

As going to the rest of part, Frarang is not presented on the scene but she have her ages as the time flows.

Therefore it is difficult to act each different ages in the short times. 

3.  I think you have difficulty to describe the emotion through the change of Frarang’s ages.

I think that it is not easy to describe one’s whole life in the short time.

The figure is changed time to time and the emotion as well.

For example, right after having love, the scene changes to separation so the emotion is needed to change very fast.

It is difficult to play controlling the emotion.

4. Which scene do you think that you could describe the emotion more if it has line or song?

If I could say in the scene, I could describe more even with the sound of breath.

For example, at Feridun’s coronation ceremony, before her son rises to the throne,

Fararang sobs as she lets her father go.

As I have monitoring to the scene, I found that I could not describe my emotion in 100%.

If I could have sound of crying, it could be better I think.

Most scenes of Frarang is almost like this.

If I could have line or song, I could explain more as it is restrained character.

5. Is there any change from the first act of Frarang?

The character of Frarang has not only dancing but also acting so I need to put the emotion in each time.

In the first period, it was awkward to describe the emotion only with dance without line
and it was very difficult but now I became free from this.

I have tried to explain the scene as a real in the formation.
It was very hard at the first but now I’m very comfortable from this.

6. Which scene do you think to be remembered by the audiences?

<Silla> is very colorful and spectacle.

But there is a scene with a deep emotion.

It is the scene of separation between Frarang and Abitine.

They try to be calm but they have huge sorrow in their heart.

Frarang dances to explain her emotion under the moon enduring sadness.

I hope the audience remember Frarang in the scene with their heart.


[Interview : Jiyeon Park, Main Dancer of Lotus, ‘A Flower Comes Out Once More’

[Interview : Jiyeon Park, Main Dancer of <Lotus, A Flower Comes Out Once More> ]

Jeongdong Theater Tradition Series 2017 

<Lotus, A Flower Comes Out Once More>

Interview with Jiyeon Park, the Main Dancer in role of ‘Seo-ryeon’

I visited the rehearsal room to have interview with Jiyeon Park,
who in charge of the main character of <Lotus, A flower Comes Out Once More>.

She take part of ‘Seo-ryoen’ and I have much interest of the character and the drama.

Q: Which character do you take in part?
A: Seo-ryeon is a character who is the best dancer and player in the court and she has beauty like a flower.

Q: Have you had any difficulty to prepare and act the character during your rehearsal time?
A: In the performance, Seo-ryeon supposed to play Hae-geum but actually I can not play the instrument.
Because I’m not a musician but a dancer. Therefore I need to play-synching to the music and to dance like I play the instrument.
But it is very difficult as it is not a real music playing.

Furthermore, I need to describe the emotion with the dance so I can feel the pressure from the Hae-geum.

Now I’m trying to make the balance between the dance and the motion of playing the instrument.

Q: I think you need to have acting skill as well as dancing skill in this performance.
Which scene is the most difficult to act by your self?

A: In a scene, Seo-ryeon is killed by the sword of the king instead of Dodam. In this scene, I need to describe the acting of dying like a real so I’m practicing the scene imagining the real feeling and emotion if I was stabbed in the heart.

The acting is difficult in general so I mostly take care of the scene as it is an acting of dying.

Q: What is the viewing point and the best scene you think in the performance?
A: In this performance, most of scene are the best but personally I think the scenes where the Seo-ryeon is described as a flower from her difficulties and death are the viewing point and the best scene.

I expect that the audiences will sympathize to it and they could enjoy the performance like seeing a movie.

Q: What is the meaning of this performance for you as a dancer? 

A: This performance has many dramatic parts and it asked me a lot the acting skill as the main character.

Acting this role, I could feel that I have matured by my self.

Also, I desired to describe various emotion through acting.

The meaningful part is that I take a part of the work of Chunghan Kim, the directer.
It is really honor for me as a dancer.

Q: Do you have any comment to the audience?

A: Now all the staffs and the actors trying to make a great performance. Please give us more interest of the performance.