Ahryen Choi
์ต์๋ จ
Proximity &ย Empathy
WORK
ํฌํธํด๋ฆฌ์ค ์๊ฐ
Presence and Absence
2018.11
"I'm here. I'm not here. I'm here. I'm not here!"
โ
This fragment explored the concept of โpresence and absence in the theatreโ mostly using sounds without a performer's body. This piece was inspired by the workshop called โComposing sound and theatre in the darkโ with Yaron Shyldkrot at RCSSD. This experiment started from the idea of how to invite audiences and create the first impression of the performance with mysterious phone ringing and the surrounding soundscape including both pre-recorded sounds and live sounds.
Kryptonite
2019.01 - 2019. 03
This project was a devising theatre work with six different artists.
Preservation.
Deconstruction.
Mysticism.
[R_d_ct_d] Appropriation.
Salt. Bricks. Tower. Wrongly dead.
Torre de la Malmuerta.
Legend. Time. Building.
This is whatโs left when we catch it between our hands.
Feeling Your Way in the Darkโ
2019.06
Proximity and Liveness through Breathing, walking and whispering
โ
FYID was a six-minute individual immersive theatrical experience in the darkness of the cabin in Tin Tabernacle. This project was influenced by shipboard environment of Tin Tabernacle and the movie โTitanicโ. The group aimed to create a vivid and dynamic three dimensional soundscape of a sinking boat by exploring binaural sound technology.
Mind the Gap
2019.05 - 2019.09
'Mind the Gap' explored the theme of how East Asian women have experienced the four stages of culture shock and with both romantic and platonic relationship in a different cultural environment and how this journey has affected their perspectives and perception of host countryโs culture, their own culture, the meaning of sex and responsibility of relationship.
This project was a sustained journey of practice, experiment and research through rehearsals and four times of public performances to find out how to communicate with audiences and how to translate the contents of the show into stage language by using bodies and objects without spoken words or dialogues. These questions expanded to how theatrical signs could produce meaning in the production and how theatrical semiotics enhanced intercommunication between performers and audiences.
