National Changgeuk Company's ‘Boheoja -- The One Who Paces the Void’ walks the path of consolation
The story of King Sejo (1417-1468), the 7th king of Joseon, is one of blood, ambition and political intrigue. Ruthless power struggles and their far-reaching consequences inspired many adaptations, including the series “The Princess’ Man” (2011) and the film “The Face Reader” (2013), in which “Squid Game” star Lee Jung-jae portrayed Grand Prince Suyang before his ascent to the throne.
Born the second son of King Sejong, Prince Suyang seized power in 1453 by overthrowing his young nephew, King Danjong, and eliminating numerous officials who stood in his way. His ruthless seizing of power earned him the moniker "the bloody monarch." Yet, his reign also saw significant advancements in governance and military organization, securing his paradoxical legacy as both usurper and accomplished ruler.
Among the victims of Suyang’s rise was his own brother, Grand Prince Anpyeong, who was executed in the bloody purge of 1453. Unlike his politically driven sibling, Anpyeong was a poet, calligrapher, gayageum (Korean traditional string instrument) player and painter. He is best remembered for “Mongyudowondo” (Dream Journey to the Peach Blossom Land), a renowned painting that captures an ethereal paradise he saw in a dream.
The National Changgeuk Company's latest changgeuk (Korean traditional opera) production, “Boheoja -- The One Who Paces the Void” takes an unconventional approach to this historical narrative.
Instead of revisiting the violent political struggles, the production leaps 27 years forward to explore lingering wounds left by history and the people left behind in its wake.
Director Kim Jeong, one of the most sought-after theater directors in recent years, described the work as one that “untangles all pain and intertwined fates, ultimately guiding us to an ethereal paradise.”
“This production explores how those wounded and scarred by past tragedies can, after many years, find a way to untangle their complicated relationships,” said Kim during a rehearsal open to the press last week.
When scriptwriter Pai Sam-shik best known for the changgeuk “Trojan Women,” was first approached to write about Prince Suyang, he hesitated at the prospect of reworking such a well-known story.
Then he came across a name: Moosim, the daughter of Anpyeong.
“After her father’s death, Moosim was condemned under guilt by association. At the age of 15 or 16, she was forced into slavery and to wander from one household to another. The story begins 27 years after the purge, when she is finally granted emancipation and freed from a life of servitude,” said Pai.
Moosim returns to the ruined old house, and one by one, those who remember Anpyeong gather to share memories. The spirit of Anpyeong appears among them, joining the conversation as an unnamed wayfarer. Tied to the traveler is the spirit of Suyang, visible only to his eyes.
Pai said he took the title from the court music piece “Boheoja” that reflects Taoist ideals of immortality, longing and transcendence.
“Human existence is heavy but our hearts can become infinitely light and free. (The story) is about shedding the weight of reality and soaring freely into the void, to the realm of immortals.”
Because the script and lyrics were so poetic, it was especially challenging for music director Han Seung-seok, the veteran composer behind “Lear” and “Madam Ong,” to compose the music.
“As the verses reflected psychological states and deep-seated wounds, for the solo songs, instead of layering the melodies with elaborate pansori techniques like ornamentations and embellishments, we stripped them down to the simpler style, sung clearly and straightforward,” said Han. “Then, for the choral pieces, we aimed for something more dynamic and added layers to create a contrast.”
The music team used instruments such as the yanggeum (Korean traditional string instrument), saenghwang (Korean traditional mouth organ) and chulhyungeum (Korean traditional zither), which are not typically used in changgeuk, to create a mysterious, dream-like atmosphere. They also incorporated the main melodies from the “Boheoja” court music to shape some of the musical composition.
“Boheoja -- The One Who Paces the Void” runs March 13-20 at the National Theater of Korea’s Daloreum Theater. English subtitles will be available.
hwangdh@heraldcorp.com
