Theatre-Game, 2017-18


venue: Sewoon Building area, Seoul, South Korea

duration: 55-60minutes 


It is an immersive theatre combined with a mobile app and game format. 

Audiences are asked to download the app on their mobile phone and turn on once they arrive at the starting location. 

The mobile application consists of text message window and a map in the main interface. 

It also includes various functions: a code scanner, VR viewer, sound player and AR.


It starts with a text message from a 17 years old girl called ‘Bahn’ migrated from the North. 

She asks audiences for help to find her way out. 

As the theatre-game continues, the audience explores every corner of 60’s brutal buildings and narrow back allies of the town 

chasing her traces and life story with a few hints given in her texts. 

The places and certain milestones the audience passes by are related to Bahn’s past and memories. 

As each mission is cleared, Bahn gets younger by year and eventually she becomes ten. 


Written and Directed by Eunju Hitchcock-Yoo

Creative-Technical Director: Do One Im

App Developed by Dokyun Kim and Bummo Gu

Producer: Jae Yong Kim

Assis. Producer: Hyunjung Lee

Accountant: Eedo Kim

Dramaturg: Sung Ah Cho

Choreographed by Esl Kim

Sound Designed by Hyosun Cha

Scenography: Hyerim Kim

VR image: Suhyun Hwang

Graphic Design: OSC Studio





Immersive Performance guided by Mobile Application, 2016



Four People and Four Different Journeys


 The story begins in an abandoned house in the center of Namdaemun. 

The personal lives of four people, between the ages of 20 and 70, who lived in this house between 1953 and 2005, represent the modern history and social turbulence of the period. This participatory performance is joined by the audience, who set off on a journey selected from 4 different stories, utilizing the map, story, music and radio drama offered on their mobile phones. Each journey corresponds to the richness of installation, sound, video and live performance in every corner of Bukchang-dong. 



Writtend and Directed by Eunju Hitchcock-Yoo


Producer: Eado Kim

Composer and Sound Designer: Orovil

Visual Artists: Hoonye Kim, Heryon Choi, Han Gyul Kim

Movement Designer: Sung Ah Cho

Performers: Young Hyun Kim, Sunjun Park, Seung Eun Im, Jieun Ju


*More information in Korean -> https://www.facebook.com/strangerstreet



                                                                                                                                                     Filmed by Yunwoo Park







 Site Specific Performance and Video Installation (2016):


 It searches choreographic movements that spontaneously response to a specific site: its architectural structure, objects, texture, atmosphere, users(residents and passers by), time(lights), weather, and direction and speed of users movements. 

This project creates moving images from improvisational movements in a mews in East London.

They act as audience instructions for a participatory performance.

 

 It adapts the poem 'Crow Eyes View' which was written in 1930's, Korea under Japanese occupation and the Greater East Asia War. The poem depicts confusion and unpredictability arisen from the rapid social changes under the modernization and colonization. The poem has a clear asymmetric structure resembling the modern architectures, which is in contrast to its dominant lingual image of ambiguity. I believe the images implied in the poem could be still reflected upon the sentiment of today.

 

 The poem is read throughout the film acting as a sound effect and a song:


Poem No. 1

13 Children Rush down a Street.
(A dead end alley is Suitable.)

The 1st Child says it's frightening.
The 2nd Child says it's frightening.
The 3rd Child says it's frightening.
The 4th Child says it's frightening.
The 5th Child says it's frightening.
The 6th Child says it's frightening.
The 7th Child says it's frightening.
The 8th Child says it's frightening.
The 9th Child says it's frightening.
The 10th Child says it's frightening.
The 11th Child says it's frightening.
The 12th Child says it's frightening.
The 13th Child says it's frightening.

13 Children were gathered together like that as either frightening or frightened.
(The absence of any other Condition was highly preferable.)

If Amongst them 1 Child is a frightening Child it’s fine.
If Amongst them 2 Children are frightening Children it's fine.
If Amongst them 2 Children are frightened Children it's fine.
If Amongst them 1 Child is a frightened Child it's fine.
(A through street is Suitable.)
Even if 13 Children do not Rush down the Street it's fine.



The mews_work in progress from Eunju Yoo on Vimeo.



 





Out door screening at various vanues in streets

Fringe Arts Bath

Bath, United Kingdom






Workshop videos =>


https://vimeo.com/128081705


https://www.youtube.com/watch?v=ikksFGS8ZrA


Orders in Chaos: Compositions and Structres of Spontaneity

A Series of Drawings

2014 - 2015

Mixed Media on Paper

297 x 420 mm














Intimate Journal of Life in Margine: March to May


2014

4colour ballpoint pen on paper

250 x 353 mm


This is a series of drawings depics everyday life in countryside, and a life in transition.

A couple of years ago, I have moved from a bustling, compatitive, and densely populated capital city of South Korea to a tranquil and nice but somehow  motionless and devoid place in the west country in England. I became a married from single, and a mom from a 'just married'. As my circumstance has been changed, the way I perceiving the world has been shaken and swayed. I had completely stopped working for a whole year to nurse a baby. Then, here I am. Restarting with small drawings observing and recording my life, 10 minutes  at a time when the baby's in sleep, everyday.

















Intimate Journal of Life in Margin: Feburary

2014

Pen on Paper

250x353mm


This is a series of drawings depics everyday life in countryside, and a life in transition.

A couple of years ago, I have moved from a bustling, compatitive, and densely populated capital city of South Korea to a tranquil and nice but somehow  motionless and devoid place in the west country in England. I became a married from single, and a mom from a 'just married'. As my circumstance has been changed, the way I perceiving the world has been shaken and swayed. I had completely stopped working for a whole year to nurse a baby. Then, here I am. Restarting with small drawings observing and recording my life, 10 minutes  at a time when the baby's in sleep, everyday.






Intimate Journal of Life in Margine: January

2014

Pen on Paper

250 x 353mm


 This is a series of drawings depics everyday life in countryside, and a life in transition.

A couple of years ago, I have moved from a bustling, compatitive, and densely populated capital city of South Korea to a tranquil and nice but somehow  motionless and devoid place in the west country in England. I became a married from single, and a mom from a 'just married'. As my circumstance has been changed, the way I perceiving the world

has been shaken and swayed. I had completely stopped working for a whole year to nurse a baby. Then, here I am. Restarting with small drawings observing and recording my life, 10 minutes  at a time when the baby's in sleep, everyday.





















 I began my artistic career as a visual artist. I have worked on moving images and live performances combined with narratives, animation, body movements and participatory processes. I initially studied sculpture and subsequent to that, I completed an MA in Design by Independent Project to pursue my plan of experimenting and fulfilling ideas of multi- disciplinary public art forms. I have showcased and performed a few street performances alongside gallery exhibitions and film screenings. Most of my works contain sequential or theatrical elements.


In the last few years, I have been working on immersive theatre combined with mobile technology. Therefore my recent interest is naturally laid in utilising new communication tools for artistic creations in public space and designing new methods of engaging audiences.

Space, mobile communication and users are the three main categories that I am majorly concerned about.

In terms of space, public domains in urban space are mainly resourced to stage a piece; from architectural structure, political purpose, users, functions, tension, scale and flow, time, lights, dominating sentiments to stories. Sites on research become platforms to present the artistic results.

Alongside the interaction with public sites and realms, storytelling is a distinctive part of my work. It is essential for communication, especially on a mobile device. I find it motivates a user(=audience) to engage, to explore and to actively response to the works.

Both, users of a space and of mobile device, are equally interesting subjects. Certain features of a space reflect its users mental and bodily reactions through times. The layers of collision between the Establishments(=planners) and people(=users) accumulated in the space draw my eyes and become a core narrative of my work. The mobile users are targeted audiences of my work. The pattern of their habitual use on mobile phone is the basis of application design and development. 


 In the few years of my early career, I had dealt with subjects related to desire and fear which usually come together. 

I was interested in how they were broke out and developed in personal relationships, behaviours, social events, systems, and customs. These subjects were mostly contemplated throughout the series of early video projects with various materials: a funeral and ancient tomb mural, traumatic memories and obsessions, sexual minority, unforgettable dreams, trivial but harmful behaviours in relationships, and common villains.

In those subjects, I also tried to deliver stories from my surroundings, people living in rigidly competitive society, and questions upon them.


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