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© 2014 Sandra Lee © 2014 Sandra Lee THE LAST EMPRESS (1995): THE PARADOXICAL DEVELOPMENT OF THE KOREAN INDIGENOUS MUSICAL AND ITS INTERCULTURAL IMPLICATIONS BY SANDRA LEE DISSERTATION Submitted in partial fulfillment of the requirements for the degree of Doctor of Philosophy in Theatre in the Graduate College of the University of Illinois at Urbana-Champaign, 2014 Urbana, Illinois Doctoral Committee: Assistant Professor Valleri J. Hohman, Chair Associate Professor Esther Kim Lee, Director of Research, University of Maryland. Associate Professor Tom Mitchell Assistant Professor Caroline H. Yang ABSTRACT This study examines The Last Empress, the Korean mega-musical, as a case study to explore how Korea’s modernism in theatre shifted towards a globalizing process in its society from the early 1990s to the beginning of the twenty-first century. This study argues that the Korean musical company, Art Communication International Inc.(ACom), endeavored to make Korea’s local culture and history accessible to global audiences by facilitating more flexible, multilayered interactions between the international and local modes of receptions and by involving multinational theatre artists and practitioners both on and off stage. Finally, the examination of The Last Empress provides a unique opportunity to discover the new function of theatre and performance in the era of globalization beyond the binary of East versus West. This study observes the musical’s impact on Korean musical theatre as the West End and Broadway style mega-musical shaped local musical by exploring how ACom integrated the company’s understanding of the global reaction into the musical. This research traces the musical’s production history, including its tours in The U.S.'s New York and Los Angeles, the U.K.'s London, and Canada's Toronto. It also observes its outreach programs held in Korea and Japan. In doing so, the study investigates the reception of the mega-musical in Korea in terms of its national recognition as a new form of theater influenced and shaped by its tour abroad. Dramaturgically and theatrically analyzing its different adaptations, translations, and revisions, this study also closely evaluates each revised version in conjunction with its responses from the foreign critics. This research determines the revised scripts and spectacles after each international tour and explores the musical’s local contribution and adaptation by utilizing the terms “national musical” or “indigenous musical.” ii To my mother and father iii ACKNOWLEDGEMENT None other than my advisor, Esther Kim Lee, can top the list of people I would like to take the opportunity here to thank. She accepted me into her environment and guided me through with her unlimited patience and energy. My respect for her as a theatre scholar, mentor, and human being is unparalleled. Her support, guidance, and advice have been invaluable and deserve a special recognition. Thank you for your continuous support and advice throughout the past eight years. It has been an extremely educational and rewarding experience. I have enjoyed working with you tremendously and I hope we will continue to do so for years to come. I am also very grateful to all the members of my doctoral committee: Valleri Hohman, Tom Mitchell, and Caroline Yang. It has been a privilege to have all of them participate in this important part of my life’s work. I am also deeply grateful to Yun Ho Jin, Song Kyung Ok, and Park Sang Hyun for allowing me to publish their uniquely valuable interviews. My gratitude is also extended to my PhD colleagues for all of their support and help throughout the years. Larry Smith, Travis and Laura Stern, Amy Stoch, and Diana Jaher, I have always enjoyed your company and all our conversations inside and outside the school. It has been great meeting all of you and communicating and working with you. I would be remiss if I didn’t recognize Professor Howard Blanning as well. He has been a great mentor since I came in the U.S. in 1999, and I owe him many debts of gratitude. My admiration and gratitude go out to my family members in Korea: my mother, father, and brother for supporting my study and encouragement throughout my life. I am grateful for their unfailing love and support that has been very rewarding. I attribute my success to their reassuring love and sacrifice. Last, but certainly not least, I must thank Wooseok, the most wonderful man and best friend in my life. Through his love, patience, support, and unwavering iv belief in me, I have been able to complete this long dissertation journey and to meet my previous two kids, Hannah and Daniel. I am forever indebted to you for giving me your life, your love, and your heart. v TABLE OF CONTENTS LIST OF FIGURES ………………………………………………………………...……….…vii LIST OF TABLES……………………………………………………………………………..viii CHAPTER 1: INTRODUCTION……………………………………………………………….1 CHAPTER 2: THE CREATION OF THE LAST EMPRESS…………………………………..35 CHAPTER 3: AMERICA? AMERICA!: THE US TOUR (1997-1998)………………………77 CHAPTER 4: TRANSITION: 2002 LONDON TOUR……………………………………….133 CHAPTER 5: REGRESSION: LOS ANGELES TOUR IN 2003 AND TORONTO TOUR IN 2004……………………………………………………………………………………………158 CHAPTER 6: THEATRICAL IMAGERY OF THE EMPRESS IN HISTORICAL SPACES: THE LAST EMPRESS OUTREACH PROGRAMS (2007-2009)……………..……….……..183 BIBLIOGRAPHY………………………………………………………………..……………..199 vi LIST OF FIGURES Fig. 1 Three Production Posters of The Last Empress.……………………………….………...88 Fig. 2 Two Photos Taken During the First Outreach Program……….......................................187 Fig. 3 Two Photos Taken During the Second Outreach Program…………….………………..191 Fig. 4 Two Photos Taken During the Third Outreach Program……………………………......195 vii LIST OF TABLES Table 1 The Number Of Musicals From Broadway And Domestic Musicals……………….......37 Table 2 Summary Of Scenes In Fox Hunt (1995)……………………………………………….44 Table 3 Scene Titles in ACom’s 1994 Adaptation………………………………………………55 Table 4 The List of Musical Numbers in the 1995 Première Script………………………….….67 Table 5 The List of Musical Numbers in the 1995 Première Script and the 1997 Version……...91 Table 6 The List of Musical Numbers in the 1997 Version and the 1998 Version…………….111 Table 7 The List of Musical Numbers in the 1998 Version and the 2002 Version…………….138 Table 8 The List of Musical Numbers in the 1998 version and the 2003/2004 Version….........165 viii CHAPTER 1 INTRODUCTION Recently Korean music, particularly pop music, has been gaining popularity across the globe. Rain, a Korean pop star, for the second time won a spot “in the TIME 100, in which we [Time] asked readers to rank who they think are the world's most influential people” in 2011.1 A year later, “Gangnam Style,” the Korean pop song by Psy, a Korean singer/songwriter, became “the most-viewed clip of all time on YouTube.”2 In the present, K-pop (an abbreviation of Korean popular music) stars have toured around the United States and Europe gathering international fandom wherever they go.3 Why are people all over the world so vigorously thrilled by Korean pop music? How has it appealed to global audiences? Kim Kyung Hyun, a scholar of East Asian studies, explains that Korean cultural popularity is not limited to the genre of music but also includes movies, TV dramas, popular songs, etc. He notes that Korean culture has been “ ‘cool’ to the worldwide appetite” since Korea hastily opened its doors to all aspects of globalization in 1997, which ushered in Korea’s dreadful financial crisis in 1998.4 Called the hallyu (韓流),5 translated as “Korean Wave,” this Korean cultural phenomenon has been defined as the “successful reception of Korean popular 1 Megan Friedman, “Korean Pop Star Rain Wins TIME 100 Poll- Again,” Times.com (Apr. 2011) Online. Internet. 3 Dec. 2013. Available: http://newsfeed.time.com/2011/04/15/korean-pop-star-rain-wins-time-100-poll- again/#ixzz2my3tlXiW. 2 Mikael Wood, “Gangnam Style' Exceeds 1 Billion Views on YouTube” The Los Angeles Times ( Dec. 2012) Online. Internet, 3 Dec, 2013. Available: http://articles.latimes.com/2012/dec/22/entertainment/la-et-ms- gangnam-style-exceeds-1-billion-views-on-youtube-20121222. 3 Mike Collett-White, “Korean Pop Music out to Conquer the World” Reuters (Nov.29 2011) Online, Internet, 3 Dec, 2013. Available: http://www.reuters.com/article/2011/11/29/us-asia-west- idUSTRE7AS0WS20111129. 4 Kyung Hyun Kim, Virtual Hallyu: Korean Cinema of the Global Era (Durham and London: Duke University Press, 2011)1. 5 The term was first coined by a Chinese journalist’s report about the popular reception of Korean television dramas and pop bands in China. The original meaning of hallyu(寒流) cold wave was differently adapted by Korean cultural industry by changing the meaning of han (Korean pronunciation) from “cold” to “Korean.” For more information, see Jina Kim, “Introduction to Three Asias- S. Korea’s In-Betweenness” Paradoxa 2, (Vashon Island: Paradoxa,2013) 157-170; Ji-Myung Kim, “ Serious Turn for ‘hallyu 3.0’” The Korea Times 3 Aug. 2012. Online, Internet, Dec 3. 2013. Avaiable: http://www.koreatimes.co.kr/www/news/opinon/2012/12/355_116574.html. 1 culture outside its borders.”6 Jina Kim, another East Asian scholar, argues that hallyu has become “a catchword used in redefining the cartography of Korean culture in contemporary times,” as “a vehicle encompassing globalization (the flow or dissemination) of Korean culture and the display of modernization of Korea as a nation.”7 Identified as a precursor to hallyu,8 The Last Empress toured abroad in order to reach the international market before hallyu went global in the 2010s.9 This dissertation reconfigures the traditional Western perspective on viewing intercultural performances by moving beyond the binary concept of East and West. Herein, a case study of the historical musical, The Last Empress, is examined in the context of its tours in The U.S.'s New York and Los Angeles, the U.K.'s London, and Canada's Toronto.
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