[Herald Interview] Director Yossef K. Junghan brings audience into theater experience with improvisation

Dance speaks louder than words in rom-com 'Rendezvous'

Yossef K. Junghan poses for a photo after an interview with The Korea Herald at the LG Arts Center in Seoul, in August. (Hwang Dong-hee/The Korea Herald)

When a rocket scientist with obsessive-compulsive disorder meets a woman grieving the loss of her father, their unexpected encounter blossoms into sympathy, love and shared healing as they navigate their traumas. At the heart of their journey is dance, which becomes a powerful catalyst for their connection.

The two-person romantic comedy play, “Rendezvous,” written and directed by South Korean director Yossef K. Junghan, kicked off in August at the LG Arts Center in Seoul. Kim first encountered the project as a potential film script and was instantly captivated.

"The idea of healing through dance -- without needing words to persuade or communicate -- fascinated me," Kim said in an interview with The Korea Herald in August.

"I was intrigued by how physical touch could express emotions that dialogue alone couldn’t. That’s what drew me in, and it plays a crucial role in the climactic scene of the play, too.”

Moon Jeong-hee (left) and Park Sung-woong perform a scene from "Rendezvous." (Yellow Bomb)

Originally written as a film script, the play was inspired by actress Moon Jeong-hee, who also stars in the theatrical production. But the plot has undergone significant changes. The original dance was salsa, which Kim changed to contact improvisation -- a form of dance where the partners move together sharing their weight as they respond to each other.

"I believe theater is something you experience. Just as hugging someone can be more powerful than saying 'I love you,' theater offers moments that need to be felt, not just spoken."

This belief led Kim to stage the production in a way that brings the audience closer to the action. The play unfolds on a stage like a long, narrow fencing piste, with the audience seated along both sides, so close that they can hear the actors breathe.

The cast of doubles -- featuring Park Sung-woong and Choi Won-young as the scientist Tae-seob; Moon and Park Hyo-ju as Ji-hee -- remains on stage throughout the 100-minute performance.

From left, actors Choi Won-young, Park Hyo-ju, Moon Jeong-hee, Park Sung-woong and director Yossef K. Junghan attend an open rehersal on Aug. 7. (Yellow Bomb)

"I wanted the audience to feel like they were right there in the moment with the characters, feeling their laughter and tears," said Kim.

"At the first performance, the actors probably felt intimidated by how close the audience was. But after the first scene, they seemed to be at ease, as if they realize the energy from the audience completes the performance. There were moments when tears fell from both the actors and the audience, creating a shared breath, a shared emotion."

Another particular element of the set is a large treadmill runway, which "plays with the concept of time and distance."

"The actors can stand still, but their proximity to each other changes. It made me think about relationships: Does physical closeness equate to emotional closeness? So the treadmill visualizes that dynamic movement of emotions."

"Rendezvous." (Yellow Bomb)

In the final scene, where the two actors dance, nothing is choreographed -- it’s fully improvisational each night. The lighting follows the actors in real time, and live music responds to their movements, creating an ever-changing moment.

Kim plays the piano each night, further enhancing the spontaneity. The score was created by composer Choi Cheon-joong and Kim himself.

"It’s significant that a character who fears change is dancing because in dance, everything is variables. At the moment, he embraces that risk of uncertainty, and I wanted the team to follow that, improvising for the last scene. We only have one fixed moment -- to end the scene where the top light falls.”

A director/collaborator who has worked with the renowned Living Theatre in New York since 2009, Kim was trained under the theater's co-founder, Judith Malina, whom he regards as a mentor.

"She always directed like a conductor, fully involved in the action on stage. She was a participant, much like a conductor playing with the orchestra. That’s the approach I’ve embraced. I see myself closer to a conductor than a director.”

“Rendezvous” runs at LG Arts Center until Sept. 21.

Next month, Kim will take part in the Seoul premiere of “The Rosetta,” a co-production with the Living Theatre, in collaboration with Playfactory Mabangzen and Yellow Bomb. The first Living Theatre production in Asia had its world premiere in Gwangju in December 2023.

By Hwang Dong-hee(hwangdh@heraldcorp.com)