‘Junk Clown’, a Korean play for kids, brings the idea of recycling to the desk by way of mime

Broken barrels, bent pans and torn umbrellas are strewn throughout the stage: issues that embody on a regular basis life. Among them, clowns frolic. Pranks and video games are afoot as they prance about taking part in with something in sight.

Junk Clown, a Korean theatre manufacturing for kids by Hyunjang Theater Company, is light-hearted but thought-provoking. It asks deep questions by way of a seemingly easy, non-linear narrative.

Now, the non-verbal play reaches town viewers by way of a digital screening by InKo Centre, Chennai in collaboration with Korea Arts Management Service, Ministry of Culture, Sport and Tourism, Republic of Korea and Centre Stage Korea.

Junk Clown began as ‘My Friend’s Plastic’ in 2000 and have become ‘Kung Kung Kung Playground’ round 2008. It was solely in 2017, that the play got here to its present moniker. Using strategies of pantomime, the narrative urges one to grow to be environmentally aware in a pandemic world.

Discarded junk grow to be characters. “In this era of overconsumption, where production is far beyond demand, I came to think that even human imagination is closed, and it is not toys with specific shapes that stimulate children’s creativity and imagination, but things that are abandoned in life,” says director Ko Jae-Kyung.

The narrative carries on and not using a single phrase uttered. The director, who was a mime artiste himself, believes that the dramatic phantasm of the play is greatest portrayed by way of mime. And, therefore the solid is recognized as clowns. “‘Clowns’ are familiar to the audience. Audiences willingly lower their guard and easily engage with them,” he says.

The inception level of Junk Clown was in actual fact, junk, says Jae-Kung. “When we first produced this play, the actors visited a real junk shop. I came up with the idea of a scene there.”

All the pranks within the present are modelled after the varied video games that adults performed throughout their childhood.

Jae-Kyung believes {that a} digital screening under no circumstances matches the dwell efficiency, particularly for the reason that play is developed primarily based on the response from the viewers. However, the play was filmed with 9 high-end cameras at Seoul Arts Centre and is presently being screened at 34 home and worldwide venues. When the state of affairs will get higher, Jae-Kyung says, “We will travel all over the world. We want to meet children and adults around the world through performances.”


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