[Namsan Stroll] The Value of Theater

Theater as a Cultural Public Good That Transforms Society
Support Needed for a Sustainable Creative Ecosystem

Since the 18th century, the advancement of mechanical civilization has continued, and by the 21st century, the rapid progress of artificial intelligence (AI) is now challenging the unique intelligence of humans. In contrast, is theater-of which the late Peter Brook said, "All it takes is for one actor to cross an empty space and it is created"-an art form that has fallen behind the times? In an era dominated by materialism and artificial intelligence, what is the purpose of theater?

From the late 1990s to the early 2000s, theater-related departments sprang up across universities nationwide in South Korea. What began with fewer than ten universities soon expanded to about sixty, including junior colleges. At a time when the crisis of the humanities was deepening, universities opened their doors wide to young people who sensed the potential of what would become K-culture and who harbored vague dreams of becoming celebrities. Those who devoted their youth to theater despite parental opposition ended up spending more time at university lecterns than on stage, while students aspiring to become actors or singers either built their foundations through theater at university or used their studies as a springboard to enter the field.

However, after about ten years, universities began to discuss reducing theater-related departments, citing various indicators and outcomes. The most prominent of these indicators, unfortunately, was the 'graduate employment rate.' Even today, only a very small number of graduates are able to establish stable careers in the entertainment industry or theater, as they had hoped when they first started.

In culturally advanced countries, pure performing arts such as theater are considered a 'public good.' Just as clean water and air are essential for a healthy society, a vibrant performance culture is also seen as a vital element in maintaining social well-being. The world-renowned French performance troupe Royal de Luxe has put this value into practice, enabling citizens to enjoy performances free of charge with support from local governments. In Nantes, where the troupe is based, the legendary show "Les Geants" was presented regularly for over a decade, and as a result, the juvenile crime rate in the region reportedly dropped significantly.

Similarly, Korean theater, which may seem somewhat marginalized within the dazzling sphere of K-culture, must serve as a reservoir that keeps the foundations of society and culture clear and vibrant. Theater, which has been filled with human wisdom, practical insight, and transcendent humor since ancient times, should gently permeate contemporary daily life and become a solid root supporting popular culture. This is precisely where the value of theater lies.

To foster robust theater, it is essential to establish a sustainable creative ecosystem and improve the welfare of theater professionals. Recently, there have been growing calls within the theater community for the enactment of a "Theater Promotion Act." Although public funding appears to have increased, there are many pitfalls lurking beneath the surface. Most of the funding, being public money, relies on visible performance indicators such as audience size or ticket sales, and many local cultural foundations, rather than supporting artists, often become planners themselves, pressuring artists with themes, formats, and accounting requirements.

I hope that theater will remain steadfast, building its own artistic world without being swayed by popular trends. Just as a tree with deep roots does not sway in the wind, when theater firmly establishes itself as a public good within society, K-culture will not be a matter of chance but will continue to lead the global cultural scene for years to come.

Lee Hawon (President of the Korean Association of Theatre Critics, Professor Emeritus at Sangmyung University)