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KUT Materials towards an interdisciplinary performance reflecting the encounter of Christianity and Buddhism in contemporary Korea by Michael Springate A Project Submitted in Partial Fulfilment of the Requirements for the Degree of MASTER OF FINE ARTS School for the Contemporary Arts O Michael Springate 2006 SIMON FRASER UNIVERSITY Spring 2006 All rights reserved. This work may not be reproduced in whole or in part, by photocopy or other means, without the permission of the author. APPROVAL Name: Michael Norman Springate Degree: Master of Fine Arts in Interdisciplinary Studies Title of Project: KUT: Materials towards an interdisciplinary performance reflecting the encounter of Christianity and Buddhism in contemporary Korea Examining Committee: Chair: Laura U. Marks Dena Wosk University Professor in Art and Culture Studies DD Kugler Senior Supervisor Associate Professor David K. Maclntyre Supervisor Professor Geoffrey S. Proehl External Examiner Professor University of Tacoma Date Approved uru~wwml~SIMON FRASER brary DECLARATION OF PARTIAL COPY RIGHT LICENCE The author, whose copyright is declared on the title page of this work, has granted to Simon Fraser University the right to lend this thesis, project or extended essay to users of the Simon Fraser University Library, and to make partial or single copies only for such users or in response to a request from the library of any other university, or other educational institution, on its own behalf or for one of its users. The author has further granted permission to Simon Fraser University to keep or make a digital copy for use in its circulating collection, and, without changing the content, to translate the thesislproject or extended essays, if technically possible, to any medium or format for the purpose of preservation of the digital work. The author has further agreed that permission for multiple copying of this work for scholarly purposes may be granted by either the author or the Dean of Graduate Studies. It is understood that copying or publication of this work for financial gain shall not be allowed without the author's written permission. Permission for public performance, or limited permission for private scholarly use, of any multimedia materials forming part of this work, may have been granted by the author. This information may be found on the separately catalogued multimedia material and in the signed Partial Copyright Licence. The original Partial Copyright Licence attesting to these terms, and signed by this author, may be found in the original bound copy of this work, retained in the Simon Fraser University Archive. Simon Fraser University Librarry Bumaby, BC, Canada Abstract This paper includes the performance script and an extended commentary upon an interdisciplinary performance by wri ter-performer Michael Springate, dieveloped in collaboration with Nathan Hesselink (cello and Korean percussion), IMaki Nagisa (dancer-actor), Carolyn Combs (videographer), Ron Stewart (mlovement) and Kee Kook-seo (director). The performance, structured as a sonata, has four movements. The relationships between these individual movements and contemporary history are clarified, as are the influences of traditional Korean performance structures, in particular the p 'ansori and the kut. Differing conceptions of self, reality and performance are defined and contrasted, and the effect of American Foreign Policy on those conceptions is also explored. Key Words: Theatre, Interdisciplinary Performance, South Korea, Christianity, Buddhism, Ontology, War, P 'ansori, Kut, American Foreign Policy. Acknowledgments Many people have helped make my three years at the School for the Contemporary Arts a worthwhle and even exciting experience ,but none more so than Professor Don Kugler, my Senior Supervisor. His thoroughly beneficial influence has been profound. I thank him. One of the first people I met as the School was writerldirector Professor Marc Diamond, who agreed to be on my Supervising Committee. I had looked forward to a long friendship, and am truly saddened by his untimely death. I am grateful to Professor David MacIntyre, a caring and forward-thnlung Graduate Chair, for becoming a member of my committee, and to Professor Geoffrey Proehl, the outside Committee member, whose questions during my oral defence went unerringly to the nub of the matter. Professor MacIntyre also taught the Collaboration class, within which I finally accepted my responsibilities as a performer of my own work, a necessary and perhaps long overdue step in my development within theatre. I am grateful, too, to Professor Penelope Stella, who accepted me into her playmaking class, allowing me a much needed opportunity to learn from the tradition of the clown. Her insightful presence, both in class and out, pla.yed an important part in the happy context in which I found myself. Thanks as well to Professors Jin-me Yoon and Judy Radul, both of whom worked hard within our Graduate Seminars to organize and discuss a range of critical materials centred around a very difficult period to grasp - the present. I was influenced, too, by the on-going interest of my fellow students within the program, in particular Maki Nagisa, Megan Wilson and Jackie Sawatsky. Thanks, too, to Noni Fidler, the Graduate Secretary, who proved an invaluable ally during numerous occasions of near crises. While I was in Korea, Drs. Chung Mee-hyun and Kim Won-bae were extremely generous with their time and knowledge. In the section entitled Researchmg Korean Christianity, I mention them and many others whose thoughts and lives have influenced this work. I am indebted to them. I sincerely hope that my fellow collaborators are aware of how much I have relied upon their creativity, good sense, and disciplined sensibilities. Nathan IIesselink, Kee Kook-seo, Ron Stewart and Maki Nagisa have all become personall friends in a very brief time, and I look forward to working with them again. Thanks, too, are due to all those who helped organize the actual perfommnce: And Chauhan, Julie-anne Saroyan, Professor Bany Hegland, Heather Blakemore, Ally Colclough, Lucia Lorenzi, Stanley Ma, Aurel Stan and Grace Park. It was a productive and very positive experience. I was fortunate, while studying, to be able to teach within the School as a sessional instructor. I am grateful to the Director of the School, Professor Martin Gottfrit, for that opportunity. I also want to thank my fellow teachers, and my students, for their support and encouragement while I balanced responsibilities. Finally, thanks are overdue to my partner, Carolyn Combs, and to our fbur children, all of whose lives were directly affected by my choice to move to Vancouver and enter the program. Their loving laughter kept me on track. Awake the wooden fish! Clang the cloud-shaped plate! Ring the bell and beat the drums! You who drown in ignorance and stagger in flight, who insist on struggling with demons, awake, penetrate mind awake, penetrate character adapted from a sign at Naej angsa, Cholla, South Korea Table of Contents Approval ......................................................................................................................................................ii Abstract ....................................................................................................................................................111 Acknowledgments .....................................................................................................................................iv Quotation................................................................................................................................................... vi.. Table of Contents ....................................................................................................................................vn Performance Commentary................................................................................................ 1 First Movement: Sonata-Allegro................................................................................................................ 1 Second Movement: Aniri P'ansori .......................................................................................................... 13 Third Movement: Scherzo ........................................................................................................................ 26 Fourth Movement: Kut .............................................................................................................................38 Performance Text........................................................................................................... 50 First Movement: Sonafa-Allegro.......................................................................................................... 50 Second Movement: Aniri P'ansori ...................................................................................................... 60 Third Movement: Scherzo ...................................................................................................................64 Fourth Movement: Kut .............................................................................................................................68 Performance Credits....................................................................................................... 77 Performance Collaborators............................................................................................ 78 Interview with Director. Kee Kook-seo .......................................................................

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