As Kim Duk-Soo’s Samulnori first act wraps up you too might be wondering somewhere in the back of your mind just how on earth they are going to top that….
Following the call of a ducklike horn played by the group’s founder and leader, Kim Duk-Soo, the eight ensemble members of this Samulnori file on to the stage wearing traditional Korean costumes appropriate for the special occasion of a 60th birthday, a Hwangap.
Notables from Théâtre du Soleil and others in the audience steeped in the ritual, were invited to come up to a backstage shrine of sorts, decorated with fruit and incense. Elsewhere it might have been a good bottle of soju that all shared. We are in Paris however, and you imagine that the wine bottle being poured is an exceptional burgundy.
With spirits duly thanked the bigger action begins— and it is HUGE, not just big. There are four pairs of performers. Each pair wields a different percussive instrument that embodies one of four elements. Light is represented by a small gong, k’kwaenggwari. Wind is from the Jing, a large gong. Rain is evoked by the jang-go, a two-sided drum. Buk, a drum with skin on both ends, brings in the clouds. What you see and what you hear is pure energy.
What you see and what you hear is pure energy.
At first Duk-Soo wields a large centerstage jang-go to set the quickening pace of rhythms. It’s as if he is throwing out balls to the ensemble to catch and copy in a rhythmic call and response of its own tongue.
Excitement builds and then builds again…
The rhythm volleys gain in complexity…
Our hearts beat faster and faster…
The vibrations are still in the air when a third piece starts. It delivers jazz like improv exponential, spiced with chants and movement.
Excitement ratchets higher and higher…
Slider photos above courtesy of Théâtre du Soleil
Théâtre du Soleil is a Total Package Experience
Intermission at Théâtre du Soleil and/or spending an hour or so waiting for the doors to open is an experience not to be missed. Set in what we learn was once a munitions factory, you too might find the theater after mistakenly wandering into the adjoining center for equestrian arts. There you can watch young trainees ride their horses in circles doing warmup trots. A tent in front of the theater serves food and drinks to the many who know to arrive early and join the party atmosphere on the grand lawn’s picnic tables. The food is switched out for the performance. In this case we can order a Korean style noodle dish and Korean-style buns— but also with a scrumptious crème fraîche dessert and wine— we ARE in Paris, for sure.
When the doors open and during intermission, we can peek in small windows cut into the fabric wall of the performers’ dressing room and watch them put on their regalia and costumes. A table sells books about the famed theater, which has roots with the physical theater school of Jacques Lecoq.
Editor’s Note: Read an earlier Picture This Post review of another brilliant work created by an artist similarly schooled in the Lecoq methods — Pratik Motwani.
KIM DUK-SOO SAMULNORI Makes a Rave Seem Tame
Six of the musicians return wearing hats with a long ribbon that they constantly animate by putting nods and head turns into action. They dance in circles and in pairs. The other two dancers wear hats with large silk flowers atop. When their heads move the flower blooms open and close.
Crouching as if they will soon break into kazatzky moves, several of the male dancers do solos spiced with the kind of rapid jeté circles you expect more from the lead male solo in a ballet. It’s not just the flying ribbons on their hats, all the dancers’ costumes are tied with gold, blue and red satin straps. Each headdress is red on one side and black on the other. It’s a swirl of colors that move making the beats take physical form.
SPOILER ALERT: The finale comes when one of the Buk drummers emerges in a different hat, wielding a ribbon that might be as long as five yards. It too is animated by his nods and head moves from side to side. With a steady engaging smile, he looks out to us as if to say, “Well, you dared me to do this, didn’t you?”
We are so drenched in vicarious adrenaline that when Kim Duk-Soo suggests we join the troupe on the stage’s side there is a fast scramble from the bleacher bench style seating. You don’t see anyone dally. We clap to the rhythms and somehow a snaking line dance begins and we are all circling the drummers with our newfound dance smarts. We really rock!
Performances do not get more fun than this!
HIGHLY RECOMMENDED
Read more on the Théâtre du Soleil website and the Visit Korea webpage devoted to Kim Duk-Soo.
Find more Picture This Post dance reviews in the latest roundup — CHOREOGRAPHERS WE LOVE. Also, watch a short preview video here —
Photos by Peter Kachergis or courtesy of Théâtre du Soleil, as indicated.
About the Author: Amy Munice
Amy Munice is Editor-in-Chief and Co-Publisher of Picture This Post. She covers books, dance, film, theater, music, museums and travel. Prior to founding Picture This Post, Amy was a freelance writer and global PR specialist for decades—writing and ghostwriting thousands of articles and promotional communications on a wide range of technical and not-so-technical topics.
Amy hopes the magazine’s click-a-picture-to-read-a-vivid-account format will nourish those ever hunting for under-discovered cultural treasures. She especially loves writing articles about travel finds, showcasing works by cultural warriors of a progressive bent, and shining a light on bold, creative strokes by fledgling artists in all genres.
