— Overview
The notes describe a new Simcheong at Haeoreum, and they stop at the movement of light.
— Contents and key concepts
A new Simcheong at Haeoreum
The notes recall a new work, Simcheong, by the National Dance Company, given from the second to the fourth of June at Haeoreum in the National Theater. They do not name the year. The meeting of sound and dance felt fresh and new to them, and the meaning and symbols of the work came down with a certain weight.
Not sound or dance first, but the stage
And the beginning, they write, was not sound, and not dance, but the stage itself. In the dark house a simple, clear shaft of light did more than its work as light, making the stage and the figures visible. It also expressed the situation and the mood, and a person’s inner grief and sorrow, and sometimes joy, and did so, they felt, quite rightly.
A screen, and light that sounded
A screen set at the back of the stage changed through various colors in harmony with the light. That scene, they write, made the swaying movement of a light that was both weak and strong feel like a single resonance, and the sharp, intense feeling was carried at a still higher level by what the eye could see.
At the same time, that movement of light also arrived as a kind of sounding, an ulim. The notes leave the work there, at that first arrival of the stage. CampusDown has the same Korean report at fuller length.
Sources
- The notes, a student account of the National Dance Company’s new Simcheong at Haeoreum, from the second to the fourth of June: a meeting of sound and dance that, for them, began with the stage and with light.
Last updated: 15 November 2026
Frequently asked questions
What performance do the notes describe?
A new work, Simcheong, by the National Dance Company, given from the second to the fourth of June at Haeoreum, the National Theater. They do not name a year. They found the meeting of sound and dance fresh, and the meaning and symbols of the work heavy.
Where, for them, did the piece begin?
Not from sound, and not from dance, but from the stage itself. In a dark house, a simple, clear shaft of light both made the stage and the figures visible and expressed situation, mood, and a character’s inner grief or, at times, joy.
Where do they stop?
A screen at the back of the stage changed color with the light. The swaying movement of a light that was both weak and strong felt like a resonance, and carried sharp feeling visually. That movement of light, they add, also arrived as a kind of sounding, an ulim. They stop there.
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