Actor Park Kang-hyun, currently captivating audiences in the musical 'Life of Pi,' shares his thoughts on taking on a new genre with a long-running performance.
Park Kang-hyun stars in 'Life of Pi' (directed by Lee Tony), a stage adaptation of Yann Martel's bestselling novel 'Life of Pi.' The story follows a young boy named Pi, who survives 227 days adrift on a lifeboat in the Pacific Ocean with a Bengal tiger named Richard Parker.
Previously adapted into a film, 'Life of Pi' makes its debut on the domestic stage under the title 'Life of Pi.' Park highlights the unique appeal of the live performance, stating, "The biggest charm of this show is witnessing how the Pacific Ocean and animals are brought to life on stage."
Describing the stage production, Park notes, "It's a format I've never experienced before." With fewer than three musical numbers, it doesn't fit the traditional musical mold, and its ensemble presence makes it distinct from a play. Thus, it is defined as a 'live on stage' genre. The production also incorporates 'puppet art,' with the entire narrative driven by the movement of animal puppets, offering a different texture from Park's previous stage experiences. He chose the project thinking, "When else will I have the chance to work with puppets?"
"I'm a strong believer in experiential learning. While this project presents a different kind of challenge compared to my previous works, I feel it's a valuable endeavor."
The premise of 'journeying with a wild animal' could seem unrealistic, making convincing performances crucial. Park explains, "I constantly practice mind control to prevent other thoughts from intruding," and "as I focus on Pi's perspective, my belief in the character strengthens."
The production alternates between the present-day Pi in a hospital and the drifting Pi, frequently shifting between past and present. Seamlessly connecting these transitions is also Park's responsibility. He confesses, "I worried a lot about whether the audience would follow Pi's past and present emotions and if the flow would be natural," adding, "Ultimately, the answer was to fully immerse myself in Pi and focus on the moment."
Excluding a 20-minute intermission, Park remains on stage for the entire 140-minute performance, passionately and meticulously portraying Pi's journey. He cites endurance and flexibility as the greatest gains from this project, stating, "I feel myself growing not only in stage performance but also in technical aspects with each show," and "I hope the audience notices my enhanced capabilities."
By Da-yeon Jeong, TenAsia Reporter light@tenasia.co.kr