A father's desperate act to preserve his daughter's artistic devotion takes center stage in the latest revival of "Seopyeonje; The Original," now playing at the National Jeongdong Theater of Korea through November 9. The production, featuring English subtitles, brings to life one of Korea's most renowned and disturbing tales of artistic obsession, where a traditional pansori singer blinds his own daughter to ensure she never abandons her musical calling.
The haunting opening scene sets the tone for this powerful drama. Under dim, blue-tinged lighting, a slowly revolving stage creates an almost dizzying atmosphere as a father paces anxiously before making his shocking choice. With grim determination, he pulls a small vial from his sleeve and sprinkles cheongangsu, a caustic liquid, into his daughter's eyes as she cries out in pain. This harrowing moment captures the extreme lengths to which artistic devotion can drive a person.
The story originates from Yi Chung-jun's 1976 novella "Seopyeonje," which has become a cornerstone of Korean cultural literature. The tale was first adapted into a landmark 1993 film that made history as the first Korean movie to surpass one million viewers. Since then, it has been transformed into a successful musical and a changgeuk, or traditional Korean opera, cementing its place in the country's artistic heritage.
At its core, the story follows a sorikkun, or pansori singer, who makes the cruel decision to blind his daughter to prevent her from abandoning the traditional Korean art form of narrative singing, just as her half-brother had done when he fled from the demanding training. Pansori, Korea's traditional form of narrative singing, requires years of rigorous practice and unwavering dedication, something the father desperately wants to ensure his daughter maintains.
Director Ko Sun-woong, who both adapted and directed this latest production, describes "Seopyeonje" as his life's work and the piece that first connected him to the art of pansori. "When I read the original novella, I was deeply moved by how it felt as if an entire universe unfolded within that small room where the father and daughter live and breathe through their sound," Ko explained. "It was as if the path of life itself became visible."
This revival marks a special collaboration between Ko and music director Han Seung-seok, whose impressive portfolio includes major changgeuk productions such as "Madam Ong" and "Rabbits Eight Sufferings." Together, they have created a production that returns to the work's roots as a sori drama, emphasizing the rhythmic beat of the drum and the raw, soaring vocals that define authentic pansori performance.
As the subtitle "The Original" suggests, Ko's production makes a deliberate effort to remain faithful to Yi's original text, distilling pansori to its purest essence. The director's vision focuses on demonstrating how pain can be transformed into artistic beauty, rather than dwelling solely on the concept of "han" – a uniquely Korean sentiment encompassing deep sorrow, loss, and endurance that permeates much of the country's traditional art.
When addressing the moral complexity of the father's actions and whether audiences can empathize with such cruelty, Ko offers a nuanced perspective. "Literature is literature, and a character is a character," he stated. "He was obsessed with perfecting his (and her) sound before his life ended. His decision – to sacrifice his daughter's sight – was cruel and violent, yes. He was a man driven by impossible devotion."
The production's approach to character development reflects Yi's original narrative choice to leave the main characters nameless – they are simply known as the father, the girl, and the young man. Ko believes this anonymity is fundamental to the story's universal appeal and timeless quality. "It feels like an old wandering tale," he explained. "Once, there was a father, and there was a girl – and they roamed through the country, singing. They were wanderers of sound, artists who performed without names. That, to me, felt like the essence of 'Seopyeonje.'"
The stage design itself serves as a powerful metaphor for the endless journey of life and artistic pursuit. A revolving circular platform keeps the performers in constant motion, symbolizing the path of wandering musicians who travel without end. This innovative staging choice reinforces the themes of perpetual movement and the never-ending quest for artistic perfection that drives the characters throughout their story.
The production features a talented double-cast system that brings different interpretations to the central roles. The father is portrayed alternately by Lim Hyun-bin, who serves as music director of the Namwon Municipal Gugak Orchestra, and Ahn Yi-ho, a member of the popular crossover band Leenalchi. This casting choice reflects both traditional and contemporary approaches to Korean music, bridging generational gaps in artistic expression.
The role of the daughter is shared between Kim Woo-jung of the National Changgeuk Company and Park Ji-hyun, a accomplished pansori singer and student of Korean traditional music at Seoul National University. These alternating performances allow audiences to experience different artistic interpretations of the same tragic character, each bringing unique vocal qualities and emotional depths to the demanding role.
"Seopyeonje; The Original" represents a significant cultural event for the National Jeongdong Theater of Korea, which is celebrating its 30th anniversary this year. The theater's decision to mark this milestone with a revival of one of Korea's most important cultural stories demonstrates the enduring relevance and power of traditional narratives in contemporary artistic expression.
The production runs through November 9 at the National Jeongdong Theater in Seoul, with English subtitles provided on both sides of the stage to ensure accessibility for international audiences. This bilingual approach reflects the theater's commitment to sharing Korean cultural heritage with a global audience while maintaining the authentic essence of traditional pansori performance.
