A Study of Gender Paradigm in Contemporary Korean Shakespearean Performances: Focusing on the Yohangza Theatre Company
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The purpose of this article is to explore changes in gender paradigm by studying the ways of describing the gender identity of the main characters in Korean performances of Shakespeare between 2002 and 2018. In particular, this study focuses on the productions of the Yohangza Theatre Company: A Midsummer Night’s Dream (2002—present), Twelfth Night (2009, 2011), and Romeo and Juliet (2014, 2018). Each production presents unique perspectives on gender roles and images, which implies a changed understanding and attitude towards gender and sexuality in contemporary Korean society. Yohangza’s Dream attempts to present Shakespeare’s plays from feminist perspective, which emphasises the importance of female roles and reconsiders male-dominant social structures. By experimenting with cross-gender casting, Yohangza’s Twelfth Night explores the concept of gender ambiguity by reconsidering the definition of femininity and masculinity in order to broaden the previous understanding of gender. In their Romeo and Juliet, Yohangza shows more experimental and radical attempts to deal with the concept of homosexuality and queer by casting actors who have a different gender/sex from Shakespeare’s characters. Over the last fifteen years, Yohangza has continuously explored the themes of gender and sexuality with new interpretations of Shakespeare’s texts while inventing its own styles of expression to broaden the audience’s perception of gender in contemporary social conditions. By analysing the performers’ physical movements and images and by interviewing the director, this article exams how Yohangza has explored the subject of gender according to the changes in cultural and social ideology in modern Korea.
Abstract
The purpose of this article is to explore changes in gender paradigm by studying the ways of describing the gender identity of the main characters in Korean performances of Shakespeare between 2002 and 2018. In particular, this study focuses on the productions of the Yohangza Theatre Company: A Midsummer Night’s Dream (2002—present), Twelfth Night (2009, 2011), and Romeo and Juliet (2014, 2018). Each production presents unique perspectives on gender roles and images, which implies a changed understanding and attitude towards gender and sexuality in contemporary Korean society. Yohangza’s Dream attempts to present Shakespeare’s plays from feminist perspective, which emphasises the importance of female roles and reconsiders male-dominant social structures. By experimenting with cross-gender casting, Yohangza’s Twelfth Night explores the concept of gender ambiguity by reconsidering the definition of femininity and masculinity in order to broaden the previous understanding of gender. In their Romeo and Juliet, Yohangza shows more experimental and radical attempts to deal with the concept of homosexuality and queer by casting actors who have a different gender/sex from Shakespeare’s characters. Over the last fifteen years, Yohangza has continuously explored the themes of gender and sexuality with new interpretations of Shakespeare’s texts while inventing its own styles of expression to broaden the audience’s perception of gender in contemporary social conditions. By analysing the performers’ physical movements and images and by interviewing the director, this article exams how Yohangza has explored the subject of gender according to the changes in cultural and social ideology in modern Korea.
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