I Wasn’t There in Gwangju
[2020 Performance Commemorating the 40th Anniversary of the May 18th Democratic Uprising]
ACC May Repertoire “I Wasn’t There in Gwangju”
In May 1980, we weren’t there in Gwangju: 10 days of blockade and siege at the city of Gwangju and the May spring that has returned to us time and again for 40 years.
We protect our warm springtime that shall remain unchanging together with the citizens.
- DateMay 15–18, 2024 (WED–SAT)
- TimeWED,THU,FRI 19:30 / SAT 14:00
- PlaceTheater 1
- Age LimitAges 13 or older (those born in 2011 or earlier; middle school students and above)
- Seating400 seats
- Price All seats KRW 20,000
- TicketWebsite / Ticket Booth / Call Center
- Contact+82-1899-5566
- Running time110 mins
Gallery
Visitor guide
Booking and Visitors Notification
Suitable Viewing Age
- Audience Rating: Ages 13 or older (those born in 2011 or earlier; middle school students and above)
- Please make sure to bring a certificate or document that may prove your date of birth (e.g., Public Health Insurance Certificate, Resident Registration Certificate, Passport, Student Card, etc.).
- ※ Viewers under the age limit cannot enter the venue regardless of the ticket held or accompanied by a guardian
- ※ Cancellation, refund, or exchange is not available if the viewer fails to attend the performance because they failed to understand the age limitation
Ticket Booking and Reception
- Reception of reserved tickets and on-site ticket purchases are available one hour before the commencement of the performance.
- ※ The reservation number of the booker’s mobile phone number must be checked before receiving the ticket
- All discounts are applicable per actual viewers, not the person who booked the ticket.
- ※ Those who purchased discounted tickets must present certificates on-site; discrepancy in the ticket price must be paid if the ticket holder fails to present appropriate certificates
Viewing Information
- National Asian Culture Center strictly restricts viewer rate, mid-performance entry, and photography for a pleasant viewing experience.
- ※ Viewers are responsible for failure to understand the entry regulations.
- Viewers can enter the venue 30 minutes before the performance, and will be prohibited entry once the performance begins.
- ※ The entry time may vary by the nature of the performance and on-site situation; please enter the venue 10 minutes before.
- This performance is ticketed; guests will receive a complimentary 4-hour parking benefit.
Viewing Information
- This is an immersive theater performance that features temporary seats installed in the regular seating area. Some parts of the performance may require audience members to stand.
- There are no designated wheelchair seats for this purpose. However, guests using wheelchairs may attend the performance freely.
- This performance involves audience members interacting and participating in the performance with the actors. It is recommended that audience members wear comfortable clothing and footwear.
- Because the audience members and actors move and participate together in the performance, some scenes may involve slight physical contact with the actors or other audience members.
- We ask audience members to refrain from any behavior or speech that may be offensive to others.
- The content and expressions involved in the performance may be of sensitive nature, and as such, the audience rating for this performance is fixed for ages 13 and older (middle school students). We ask all teenagers to be accompanied by guardians. The performance may be unsuitable for pregnant women, seniors, and persons with disabilities. We ask for your understanding.
- The duration of the performance is about 110 minutes without intermission.
- Please note that you may not be allowed to reenter after leaving the venue in the middle of the performance.
Introduction
“No futility shall be found in the things we have loved” – from the diary of Lee Jeong-yeon
In May 1980, we were not in Gwangju.
Over 10 days between May 18 and 27, Gwangju became an isolated and besieged island.
Freedom and democracy in this land could not be established without those who had fought with courage and resolute will and sacrificed themselves for democracy in the face of complete isolation.
Over 10 days between May 18 and 27, Gwangju became an isolated and besieged island.
Freedom and democracy in this land could not be established without those who had fought with courage and resolute will and sacrificed themselves for democracy in the face of complete isolation.
We were not there, yet we return to the 10 days of struggle—to that desperate place.
Created to commemorate the 40th anniversary of the May 18th Democratic Uprising, “I Wasn’t There in Gwangju” is an *immersive theater performance that delivers the entirety of the May 18th Democratic Uprising, from its beginning at the front gates of Chonnam National University, to the audience members so that they can experience the events of the struggle themselves.
Created to commemorate the 40th anniversary of the May 18th Democratic Uprising, “I Wasn’t There in Gwangju” is an *immersive theater performance that delivers the entirety of the May 18th Democratic Uprising, from its beginning at the front gates of Chonnam National University, to the audience members so that they can experience the events of the struggle themselves.
- ※Immersive theater: A performance where audience members actively take part in the performance rather than passively watching the actors onstage
Cast and Crew
- Production Asia Culture Center, Playfactory Mabangzen, IM Culture
- Writing Kim Gyeong-ju, Ahn Jun-won, Koh Seon-ung
- Direction Koh Seon-ung
- Cooperation Direction Seo Jeongwan
- Cast Park Sang-jong, Hwang Yeong-hee, Kim Nan-hee, Lee Do-yu-jae, Lee Jeong-hun, Cho Young-gyu, Gyeon Min-seong, Kim Yeong-no, Kim Yun-a, Nam Seul-gi, Park Ju-yeon, Kang Deuk-jong, Lee Ji-hyeon, Won Gyeong-sik, Lee Seong-hwan, Cho Yong-ui, Chu Jeong-min, Kim Geun-hyeok, Seo Seung-hyeon, Han Yun-gu, Yang Ye-seok, Jeong Da-ham, Lee So-yeon, Kim Nam-pyo, Cho Yeong-min, Hong Jun-gi, Park Seung-hwa, Park Hae-yong, Lee Gyeong-gu, Kim Ha-ri, Hwang Jae-seong, Go Yeong-chan, Choi Eun-jun, Ahn Ye-rim
Fedora, Old Man, Bookstore Owner Park Sang-jong
Mokpo Lady, Restaurant Owner, CitizenHwang Yeong-hee
Yeongam Lady, MayorKim Nan-hee
Mother, Nun, Seoul LadyLee Do-yu-jae
Photojournalist, Tailor, Store OwnerLee Jeong-hun
Store Owner, TeacherCho Young-gyu
Law Student, Job SearcherGyeon Min-seong
Reservist, Tofu Seller, Unemployed ManKim Yeong-no
Pedagogy StudentKim Yun-a
Engineering Student, Gyerim-dong, Truck, NajupaNam Seul-gi
Pregnant WomanPark Ju-yeon
Soldier 1, Dictator, Etc. Kang Deuk-jong
Bank TellerLee Ji-hyeon
Soldier 2, Communications SpecialistWon Gyeong-sik
Soldier 7Lee Seong-hwan
Sports StudentCho Yong-ui
SoldierChu Jeong-min
Door-to-Door SellerKim Geun-hyeok
Shoe Polisher, HenchmanSeo Seung-hyeon
Soldier 3, Radio Voice Han Yun-gu
Soldier 8Yang Ye-seok
Literature StudentJeong Da-ham
AccessoryLee So-yeon
Soldier 4, Radio VoiceKim Nam-pyo
Soldier 9Cho Yeong-min
Male High Schooler 1Hong Jun-gi
Soldier 10, Militia, Hwasunpa Park Seung-hwa
ThugPark Hae-yong
Female High Schooler Lee Gyeong-gu
Repeating StudentKim Ha-ri
Soldier 5, Radio Voice, Communications SpecialistHwang Jae-seong
Male High Schooler 2, Damyangpa Go Yeong-chan
BoyChoi Eun-jun
GirlAhn Ye-rim
Production & Direction Koh Seon-ung
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Career
- Current General Director, Seoul Metropolitan Theater
- Current Artistic Director, Playfactory Mabangzen
- Former Artistic Director, Gyeonggi Provincial Drama Company
- 2018 Leading Producer, Opening and Closing Ceremonies for the PyeongChang 2018 Paralympic Winter Games
Theatrical Works“Camel Box” adaptation and direction; “L’Appartement” adaptation & direction; “The Orphan of Zhao: Seeds of Revenge” adaptation and direction; “Hongdo” adaptation and direction; “The Buffalo Moon” writing and direction; “Marijuana” writing and direction; “On a Blue Day” adaptation and direction; “The Hot Ocean” direction and many othersMusicals“Arirang” direction; “Once” Korean script and lyrics; “It’s a Wonderful Life - The Musical” script and direction; “Namhansanseong” script; “Carmen” adaptation and direction; “Nunsense A-Men!” Korean script and direction; “Gwanghwamun Love Song” script; “Jekyll & Hyde” Korean script and lyrics; “Werther” script, lyrics and direction, and many othersChanggeuk (Traditional Korean Opera)“Song of Heungbo” adaptation and direction; “Madame Ong” adaptation and direction- 2019Lee Hae Rang Theater Awards
- 2017Seoul Theater Association Award for Best Director
- 2016Korean Art Critics Association Award for Best Artist
Dong-A Theatre Award Grand Prize and Best Director Award, “The Orphan of Zhao: Seeds of Revenge”
Seoul Arts Center Arts Grand Award and Best Director Award, “Hongdo” - 2015Dong-A Theatre Award Best Director Award, “The Orphan of Zhao: Seeds of Revenge”
Korea Theater Awards Best Director Award
SAFC Artists of the Year Awards Theatrical Artist Award
Korea Directors Association Director of the Year Award
Yegreen Musical Award Staff Award - 2014E-Daily Culture Awards Excellence Award, Theatrical Division
Cha Bumseok Theater Awards, “Madame Ong”
Shandong International Theater Festival Director’s Award and many others
Partner Director Seo Jeong-wan
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Career
- Current President, Playfactory Mabangzen
Major Works“Story of Dua,” “Teddy Daddy Run,” “HerzKlang,” “Kush Nama - A Never Ending Story,” “Tale of the Rabbit,” “Human Cannonball Show,” and many others- 2019 “I Am Still Here,” Grand Prize, Incheon Civil Play Awards
- 2018 “Today, They Lived,” Script and Director’s Award, Tokyo Lunatic Festival
- 2018 “Tale of the Rabbit,” Best Collection 4, Gyeonggi Performing Arts Festa
- 2017 “Human Cannonball Show,” Silver Prize, Geochang International Festival of Theatre
- 2016 “Human Cannonball Show,” Gold Prize and Director’s Award, Gimcheon International Theater Festival for Family
Joint Production Playfactory Mabangzen
Playfactory Mabangzen was founded in 2005 by playwright and director Koh Seon-ung as “the most creative and popular repertoire theater.”
Its best-known works include the “Camel Box,” “Tale of the Rabbit,” “Hongdo,” “L’Appartement,” “Killbeth,” “King Lear: Apocrypha,” and “The Buffalo Moon.” “Camel Box” won the 2019 The Learned Society of Korean Drama and Theatre Best Play of the Year and the Best 7 Korea Play in the same year. “Hongdo” bagged the Best Director Awards and Grand Prize at the SAC Awards 2016; the E-Daily Culture Awards Excellence Award, Theatrical Division in 2015; the Best Collection 4 at 2015 Gyeonggi Performing Arts Festa; and the Best 7 Performance by The Korean Theatre Review 2014. Furthermore, “Killbeth” won the Best Play Award at The Korea Shakespeare Awards 2012; the PAMS Choice program at the 2011 PAMS; and Best Work and Best Director Award at the Dong-A Theater Award 2011, while “The Buffalo Moon” earned the Best Work Award, Best New Actor, and the Best Stage Art Awards at the 2010 Seoul Theater Festival.
Its best-known works include the “Camel Box,” “Tale of the Rabbit,” “Hongdo,” “L’Appartement,” “Killbeth,” “King Lear: Apocrypha,” and “The Buffalo Moon.” “Camel Box” won the 2019 The Learned Society of Korean Drama and Theatre Best Play of the Year and the Best 7 Korea Play in the same year. “Hongdo” bagged the Best Director Awards and Grand Prize at the SAC Awards 2016; the E-Daily Culture Awards Excellence Award, Theatrical Division in 2015; the Best Collection 4 at 2015 Gyeonggi Performing Arts Festa; and the Best 7 Performance by The Korean Theatre Review 2014. Furthermore, “Killbeth” won the Best Play Award at The Korea Shakespeare Awards 2012; the PAMS Choice program at the 2011 PAMS; and Best Work and Best Director Award at the Dong-A Theater Award 2011, while “The Buffalo Moon” earned the Best Work Award, Best New Actor, and the Best Stage Art Awards at the 2010 Seoul Theater Festival.
Joint Production IM Culture
IM Culture was founded in March 2014 by experts who have created numerous works of performing arts over nearly 10 years as a vehicle serving the development of musicals, theater, and other areas of the Korean performing arts scene. The company delivers a new level of emotional engagement to audience members by utilizing its expertise to create superlative works, seeking to use unique ideas and new forms of theater programming in the service of progressing the performing arts scene and expanding the performing arts market in Korea.
In 2015, the first year of its production work, IM Culture’s capabilities were recognized through the box office and critical success of the creative musical “RHO71500” and the play “The Capone Trilogy.” Then, in 2016, it managed to achieve more than 90% of the market share for performances requiring payment through the musical “RHO71500,” the play “The Capone Trilogy,” and new theatrical works “Sirenia” and “The Bunker Trilogy.” In 2017, the company showcased the improvised musical “Every Show’s a First Today”—the first of its kind in Korea—as well as the cabaret musical “Mee on the Song,” the plays “The Frontier Trilogy” and “Dear Yelena Sergeyevna,” and the experimental work “The Helmet - Room’s vol. 1.”
The company refined and returned the works “The Capone Trilogy,” “The Bunker Trilogy,” and “The Helmet - Room’s vol. 1” to the stage by 2018. The following year, IM Culture brought a diverse range of performances to the public through the creative musical “Van Gogh and the Sunflower Boy,” improvised theater “Murder Mystery,” and the creative musical “Legendary Little Basketball Team,” produced in conjunction with the Ansan Cultural Foundation.
IM Culture’s goal is to program a diverse range of unique performances to facilitate the development of the performing arts scene and the expansion of the performing arts industry in Korea.
In 2015, the first year of its production work, IM Culture’s capabilities were recognized through the box office and critical success of the creative musical “RHO71500” and the play “The Capone Trilogy.” Then, in 2016, it managed to achieve more than 90% of the market share for performances requiring payment through the musical “RHO71500,” the play “The Capone Trilogy,” and new theatrical works “Sirenia” and “The Bunker Trilogy.” In 2017, the company showcased the improvised musical “Every Show’s a First Today”—the first of its kind in Korea—as well as the cabaret musical “Mee on the Song,” the plays “The Frontier Trilogy” and “Dear Yelena Sergeyevna,” and the experimental work “The Helmet - Room’s vol. 1.”
The company refined and returned the works “The Capone Trilogy,” “The Bunker Trilogy,” and “The Helmet - Room’s vol. 1” to the stage by 2018. The following year, IM Culture brought a diverse range of performances to the public through the creative musical “Van Gogh and the Sunflower Boy,” improvised theater “Murder Mystery,” and the creative musical “Legendary Little Basketball Team,” produced in conjunction with the Ansan Cultural Foundation.
IM Culture’s goal is to program a diverse range of unique performances to facilitate the development of the performing arts scene and the expansion of the performing arts industry in Korea.
- Musical “RHO71500,” Best Choreography and Best Revival Awards, 5th Yegreen Musical Award
- Musical “RHO71500,” Best Choreography Award, 1st Korea Musical Awards
- Musical “Legendary Little Basketball Team,” Best Choreography Award, 8th Yegreen Musical Award
Place Info.
ACC Theater, Theater 1
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