“The delicate and innocent Yeonghye is always alone. “There are many women in the world who look like Yeonghye.”
Italian actress Monica Picedu, who played the main character Yeong-hye in the play ‘The Vegetarian’ that opened in Paris, France on the 8th (local time), said with tears in her eyes, “I too have the same pain as Yeong-hye.” This means that I felt deep sympathy for Yeong-hye, who was hurt by the violence of men such as her husband, brother-in-law, and father, but endured it alone because she had no one to rely on.
The play of the same name, based on the novel ’The Vegetarian’ by author Han Kang, had its first performance at the Odéon Theater in Paris on this day. Even before a writer received the Nobel Prize in Literature last month, the Italian theater company Index was fascinated by the original work and prepared a play. After performing in major cities, starting with Bologna, Italy on the 25th of last month, they finally came to Paris. The French showed such great interest that all performances in Paris scheduled until the 16th were sold out.
Although only four people - Yeong-hye, her husband, her older sister, and her brother-in-law – appeared in the play, which lasted for 1 hour and 50 minutes, the actors vividly expressed the actions of the other characters through long monologues. A representative scene was when Yeong-hye suffered pressure from her father to eat meat while eating with her family. Each actor described the family’s actions while looking at the audience as if they were watching a family meal scene from the audience.
In the part where the father said that he hit Yeong-hye, each person slapped their own cheek sharply at the same time, heightening the tension. Korean elements were also prominent throughout the play, such as soju, a TV playing Korean, and the national anthem blaring from the stage.
After the performance, several audience members expressed deep sympathy for Yeonghye. Diana Pinto Moizi said she could sympathize with Yeong-hye’s difficulties and said, “The play expressed the universal emotions of humanity well.” He also said, “The fact that Yeong-hye insists on being a vegetarian and tries to communicate with plants is very Asian and shows ‘sublime fusion.’”
Dominique Moisy, who finished reading Vegetarian in English first, explained, “The empty apartment on the stage and the gray background clearly depicted very lonely characters,” and “I liked the part that revealed the aesthetics of solitude the most.”
There were quite a few audience members who showed a high level of understanding of artist Han Kang’s work. Lillian Lahadi said, “When I read the novel ‘No Goodbye,’ I felt the language floating in the words and melody,” and added, “The Vegetarian is more dreamy and metaphorical than that.”
Some audience members pointed out that the play did not properly capture the literary quality of the original work. Patrice Makuwa expressed regret, saying, “I really liked the original work, but the play seemed a bit lacking in terms of the degree of adaptation and liveliness.”
Paris = Correspondent Jo Eun-ah achim@donga.com
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Title: Exploring “The Vegetarian”: A Fascinating Dive into Artistic Interpretation
Setting: A virtual meeting room with a warm ambiance, adorned with images from the play. The Time.news editor, Alex, welcomes the expert, Dr. Lisa Kim, a renowned literary critic and theater scholar.
Alex: Welcome, Dr. Kim! It’s a pleasure to have you here today. The recent adaptation of Han Kang’s novel “The Vegetarian” at the Odéon Theater in Paris has become quite a sensation. What are your initial thoughts on the performance and its impact on audiences?
Dr. Kim: Thank you, Alex! It’s great to be here. The adaptation in Paris has received a remarkable response, not just from theater enthusiasts but also from those unfamiliar with the source material. The portrayal of Yeong-hye by Monica Picedu captures the essence of loneliness and vulnerability that resonates with many, regardless of cultural background.
Alex: Absolutely! There’s a quote from Picedu where she states, “I too have the same pain as Yeong-hye.” This kind of emotional connection must play a crucial role in the play’s reception. Can you elaborate on the significance of empathy in performances like this one?
Dr. Kim: Empathy is vital in theater; it allows the audience to step into the shoes of the characters. Yeong-hye’s struggle against societal expectations and family dynamics speaks to universal themes of isolation and defiance. When performers like Picedu genuinely express these feelings, it creates a bridge between the stage and the audience, inviting them to reflect on their own lives and experiences.
Alex: I understand the production chose a minimalist approach, with only four actors portraying intricate family dynamics through monologues. How does this style affect the storytelling?
Dr. Kim: The minimalist approach is powerful in its simplicity. By focusing on just a few characters and using vivid monologues, the production amplifies the emotions tied to each interaction. For instance, the scene where Yeong-hye’s father pressures her to eat meat creates a profound sense of tension, allowing the audience to feel the weight of cultural and familial obligations. It’s a clever way to maintain engagement with a limited cast.
Alex: You mentioned cultural elements present throughout the play, such as soju and the Korean national anthem. How does this infuse the performances with a unique identity?
Dr. Kim: Integrating cultural elements adds layers of authenticity and depth to the narrative. The inclusion of soju and other Korean symbols connects the production to its roots and enhances the audience’s understanding of Yeong-hye’s struggles. It conveys not just a personal, but a collective pain, reinforcing the cultural significance of her choices, particularly her insistence on vegetarianism.
Alex: Audience reactions seem overwhelmingly positive, with attendees like Diana Pinto Moizi noting the play’s expression of universal human emotions. How do you think this adaptation balances cultural specificity with global themes?
Dr. Kim: That’s a great point, Alex. The adaptation succeeds because it captures what I like to call “sublime fusion.” While it is rooted in Korean culture, the themes of loneliness, the search for identity, and the quest for autonomy resonate across different cultures. This universality allows more people to connect with Yeong-hye’s plight, regardless of their background.
Alex: what do you hope audiences take away from this performance? Is there a particular message you believe shines through?
Dr. Kim: I believe the overarching message is about the importance of finding one’s voice in a world filled with noise. Yeong-hye’s journey teaches us about the courage to stand up for personal beliefs and the significance of compassion in understanding others. My hope is that audience members not only empathize with Yeong-hye but also reflect on their own lives and the struggles they face.
Alex: Beautifully said, Dr. Kim. Thank you for sharing your insights on “The Vegetarian.” It certainly sounds like a performance that invites deep reflection and emotional engagement.
Dr. Kim: Thank you for having me, Alex! I’m excited to see how this adaptation continues to influence discussions around identity and empathy in the arts.
Alex: And I’m sure our readers will appreciate your expert perspective. Until next time!
[End of Interview]