Red Devils – 붉은 악마

Korean National University of Art – 2009


The capitalist crisis in relation to the success of sport competition. One can wonder, how Korea succeeds to produce champions in sport, at the Olympics and other world competitions, in such great numbers. I remember the red that covered City Hall Plaza when I came here for the first time. I asked if the communist had invaded Seoul, but I was told that everyone was cheering for the RED DEVILS, million were soccer crazed for a day.

By studying the North Korean Mass dance performances , one can link the extraordinary sport achievements with political propaganda and nationalism, a feeling to belonging to something bigger, in unison, together, we, through the athlete’s legs and sweat, we feel great, united, we forget about today.

Teasers :

The group culture and the dictator.

What interest me are the elements in Korea which favor the group culture that produces dictators and acceptance of dictatorship.
They are: dogmatic and competitive culture, uniformity of the individuals to better blend into groups, patriarchal structures, pyramidal religious belief, business based on a cast system, military culture, conservative thinking, and blood nationalism.

Another aspect of research is the way to divert the attention of the masses away from capitalism collapse, corruption and political conservatism. I will focus on the manipulation of the group by means of propaganda (school competition, military citizenship, membership training, sport competition, dramatic prime TV, monotheist religion and politics)

The juxtaposition of North Korean Mass dance and South Korean style of propaganda

After understanding the intended provocation, the irony, and satire, my intention isn’t actually so surrealist. As one look a North Korea propaganda (where the leader is a God), one can question the smile on the propaganda poster, wondering: are they really happy? And shouldn’t one ask the same question facing in South Korea the Unit of unemployed, The Unit of girls on promotion at TechnoMart, the army of good citizen?

The juxtaposition of North and South Korea tableaux will create a duality provoking some laughter and questioning: what do we have in common? My goal is to make a beautiful and extraordinary spectacle with quality music and choreography and witness the live reunification of the two Koreas.

Notes from Marion Schoevaert

Red devils is a new theatrical creation in the style of mass dance, to study the group culture in societies of control. Despite the propaganda style, this performance has no intention to promote communist ideals or to create anti-government feelings.

With my distant foreign point of view, I can point out what is the obvious, taken for granted and habitual for Korean people. My intention is not to judge but to make an impartial interpretation of what I see. This performance is an experimental work, meant to question and study, provoking, and satirical images of group culture in the Korean peninsula.

KNUA, an inter-department collaboration. A community at work at the image of the society of control. The music, writing, art, dance, design, multi-media and theatre department took part of the new adventurous theatrical creation. We had two goals in mind:

First, art cannot live by itself, all art form feed on each other and KNUA greatest strength is its inter-department collaboration, where actors can meet painters, multi-media can meet theater practitioners … this is a rich experience that open the mind of the future artists.

The second goal was to use the university as a micro society. A place where the director can act as a dictator, producers act as politicians, the writers act as the intellectuals making propaganda, choreographer act as military, multi-media as a police, designers as the architects , and the actors act as factory workers.

Theater as the art of resistance, Theatre as a painting- 13 tableaux of mass dance

There are no storyline, no single characters. All social classes (the kids, the unemployed, the military, the prostitutes, the businessmen, the factory workers, the CEOs, the farmer) act as a unit, in a group choreography, or as a chorus.

All choreography and pictures are inspired by North Korean propaganda art, but recreated in the style of pop art. All texts, images, dance and music are based on real text, existing images and musical scores from different sources(North Korea, newspapers, slogan, internet, advertising, TV drama, business reports,,,) these materials are put together as a great collage to make a painting.

The time is here and now. The audience more used to storytelling -type theater might be confused and wondering how to take this performance. As we did in rehearsals, the audience can just ask themselves:

What do I see?

How do I feel?

What does it mean?


Marion Schoevaert and Red Devils’s team interviews

Directed by Marion Schoevaert
Choreographed by Park JunMi
Music by Kim Dong Kun, Kim Ahram (conductor)
(Music from Sea of Blood from North Korea)
Video by Son Jae Lin, Im Sae OnChae Tae Un, Goag HoJung,
Costumes Kim Sul Gi, and many hands
Set design by Un Bora
Painter Sun Mu, North Korean painter
2 orchestras: a Western Orchestra and Korean traditional music orchestra
5 writers
3 producers
24 actors/dancers
2 singers
20 stage hands


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  • Acte French : Contempory Plays from France, Philippa Wehle, PAJ Publications, 2007
  • Theater, vol. 28, n°1,  Erika Munk, Yale Repertory Theatre, 1997
  • Ubu Scènes d’Europe, Spécial scènes new-yorkaise, n°24/25, APITE, Avril 2002
  • Ubu Scènes d’Europe, Des auteurs français d’aujourd’hui, n°40/41, APITE, Avril 2007
  • French-American Theatre Dialogue Series, Martin E. Segal Theatre Center, Fall 2005 Programs
  • La Gazette Jaune, Les Coréens de Michel Vinaver, Scène nationale dÉvreux Louviers, n°10, Mars 2008
  • French Theater Today, Edward Baron Turk, University of Iowa Press, 2011


The big black panthere

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 This fun dynamic and poetical story, with shadow puppet-theater, with Indian dance, music and songs, will present the incredible wealth of Indian culture to kids. It will also make the parents and the public question about our day today.  

The Great Black Panther is terribly hungry. She steps out of the jungle to hunt. She goes to the village and eats: a huge elephant, a black hen and a white cow.  The villagers are very upset: the great Black Panther ate their sacred cow!

Their screams awaken all the gods of the region…

 This is the story of the men hunting down the great Black Panther who hunts the cow. The Gods fight between the right of nature and those of faith. This is the story of the birth of war of religion.


adapté de l’album du Père Castor, P. François par Marion Schoevaert

Mise en scène
Marion Schoevaert

Gwenaël Le Boulluec (marionnettiste)
Mosin Khan Kawa (musiciens)
Tulika Srivastava (danseuse et musicienne)

Cindy Lombardi
Armelle Marbet
Carole Nobiron

Marie-Sol Kim


de Kim Kwang Lim
créé au Séoul Art Center (2008)

Un homme et une femme sont sur scène.
Ils confessent leurs péchés à l’audience. Nous compatissons par la sympathie, nous nous réjouissons de les entendre confesser nos crimes, nous anticipons leur prochaine pénitence. Alors que nous sommes sur le point d’accorder le pardon, ils annoncent que les confessions étaient des mensonges.Et ceci est encore une nouvelle confession.

Il n’y a pas, dans cette pièce, de vraie repentance, pas d’absolution, ni de pardon.
Pas de salut, simplement l’incessant cycle de l’homme, « the stuff men are made off ».

Mr. Kim Lee Park

adapté de Confessions de Kim Kwang-Lim
créé au Arko Theatre (Séoul) dans le cadre du Séoul Performing Arts Festival (2011)


Une étude du monde des hommes d’affaires; de Mr Kim, Mr Lee et Mr Park dans le Séoul d’aujourd’hui : métro, révérence, emploi du temps, responsabilité, réunion, plans de relance, pression, hiérarchie, décompression par l’alcool, éthique, crise financière, taxes, …

Nous regardons plus spécifiquement l’influence du commerce sur le psychisme des individus, des familles et comment la « culture business » définie la Corée du Sud.


adapté de Confession de Kim Kwang Lim

Adaptation et textes
Marion Schoevaert
Lee Boram

Mise en scène
Marion Schoevaert

Park Jun-Mi
Jo Woon
Shin Dong-Sun
Han Gang-Woo

Park Jun-Mi

Texte Rythmique
Go Gi-Hyuk/ Kim Dong-Guen/ Choi Young-Suk

Jeon Gwang-Pyo

Choi One

Bae Sang-Pil /  Lee Yu-Jin

Jeong A-Rum
Choi Bo-Mi

In the Solitude of Cotton Fields

at the Ohio Theater, Koltes New York Festival 2003

A dealer and a client meet. In this business transaction, demand is a look, supply is a kick; the deal is illicit and the bargain is life itself.Sollitude

We investigate the ten seconds of a fatal encounter between two men and blow it up to one hour. We zoom in on specific actions (What happened in the dark? Who made the first move? Who died?), and study the close ups as forensic evidence (the hand on the arm, the look, the spit, the jackets on the floor).

Director, Marion Schoevaert provides several scenarios:

1. The story of a man moments before he kills himself.
2. The story of the falling body before it reaches the ground.
3. The story of a man who goes from here to there and is interrupted by a chance encounter in the dark.
4. The story of a man who comes to ask for something and gets it in the end.

In a world where the client is king, the dealer offers the “final nakedness”, softly, respectfully, almost tenderly.

Designed entirely by Anna Kiraly (set, costumes and lights), the set is made of luminescent panels that represent a fractured street corner. Light and darkness collide with the force of enemies.

The live music by Satoshi Takeishi operates like a police evidence tape. Using sampling to fast forward and rewind live text spoken by the actors on stage, he will also be playing on Japanese drums.

Choreographer Stanislas Kemper and actors Terrence Bae and Shaun O’Neil have pooled together their expertise in martial arts, (taekwondo, capoeira, Shaolin kung fu, tai chi and breakdancing). We are using martial arts as a basis to choreograph the characters’ walks, stances and reactions, physical and emotional. It is not a literal demonstration of different styles but an incorporation of the essence of martial art into this dance to the death.

Translated by Lenora Champagne

Directed by Marion Schoevaert

Music by Satoshi Taleishi

With Terrence Bae and Shaun O’Neil

Choreographer Stanislas Kemper

Set design Anna Kiraly

Video by Irina Patkanian


Solitude des Champs de Cotton

de Bernard Marie Koltès
traduit par Lenora Champagne
Dans le cadre du Koltes Festival NYC 2003
Nous enquêtons sur la rencontre fatale de dix secondes entre deux hommes et l’élargissons à une heure. Nous zoomons sur des actions spécifiques (que se passe-t-il dans le noir ? qui a fait le premier pas ? qui est mort ?) et étudions ces détails comme pièces à conviction (la main sur le bras, le regard, le crachat, la veste par terre.) Il y a plusieurs scénarios possibles.
1. L’histoire d’un homme juste avant qu’il saute du toit.
2. L’histoire d’un corps qui tombe, juste avant de s’écraser sur le sol.
3. L’histoire d’un homme qui va d’un point à un autre et qui est interrompu par une rencontre de hasard dans le noir.
4. L’histoire d’un homme qui vient demander quelque chose et l’obtient à la fin.
Dans un monde où le client est roi, le dealer lui concède la nudité finale qu’il était venu chercher, avec douceur, respect et presque avec tendresse.



The back leg is always tense

An interdisciplinary concert in the style of pop art


Four musicians and two dancers paint the life of a modern couple using tango as a canvas.
As the couple zaps through economic crises, unemployment, job interviews, couple therapy and tango extremes, suddenly a piercing solo of a Nigerian immigrant girl from a boat sinking next to the island of Lampedusa, Italy,crashes on our dancers, musicians and on us.

The audience is sucked in the eye of a modern tornado it knows too well: tons of headline news, rules of good manners, cooking lessons, advertising, slogans, tweets… Our six characters zapping life is the main symphonic orchestra, the left hand of the pianist.
The melody, the right hand of the pianist, performed by operatic soprano Omo Bello, (a new star in the opera world scene) suddenly rises from an audience seat, amidst the everyday fuss and personal convulsions. First barely audible, then taking up the whole space: the tragic odyssey of Esther Ada, a 17 years old Nigerian girl who drowned 500 meters from the island of Lampedusa, in Italy, the promise land. These songs are in English, and Igbo (Nigerian language).
The three songs of Esther Ada interrupt the hectic and busy tango. Like in real life, the existence and death of Esther Ada has no connection to our daily actions. But she is there, unsentimental, standing loud before our eyes, tall and hopeful. She is a heart that beats through the whole production, while our dancers are constricted, cornered, stripped by the life that she so wants.

Esther Ada – We discovered the existence of the young Nigerian girl, Esther Ada (17 years old) through the media coverage during the play. On her way from Nigeria to Italy, she crossed the Mediterranean Sea on the Turkish boat called Pinar and died during the trip. She is buried in the small cemetery of the island of Lampedusa, Italy. She is the only one with a name and a date of birth, among the thousands of migrants who died at sea, on their way to Europe. Esther Ada comes on the stage through a radio, among a multitude of other news. Some information just glides over us, as background noise, some other news, remain carved into our consciousness, leaving an indelible
trace. The story of Esther Ada, resonate even more with the terrible tragedy in April 2015 where 900 migrants died when their boat capsized.

Marion Schoevaert

Colin Jolet
Tam Hau Nguyen Ba

David Haroutunian
Louise Jallu
Leandro Lacapere
Blanche Stromboni

with the voice of Omo Bello

Light design
Marie-Sol Kim

Grégoire Auclerc

Avec le Réseau Affluence

New York Philarmonic

Very Young People’s Concerts introduce youngsters to classical music through imaginative engagement, active listening, and hands-on music-making with members of the New York Philharmonic.

Since 2003 Marion Schoevaert designed illustrations for Androcles and the Lion, at Avery Fisher Hall for a New York Philharmonic Young People’s Concert, as well as Tortoise and the Hare, Eine kleine Nachtmusik, Debussy’ String Quartet, Vivaldi’s The Seasons, Ravel String Quartet, and The Fox and the Sparrow, all for the Very Young People’s Concerts at Merkin Concert Hall.



Richard Sortomme
Androcles et le Lion
Avery Fisher Hall, Lincoln Center, Saint Peter’s Church, 2003/2004

Raimundo Penaforte
The Tortoise and the Hare
American Academy of Arts and Letters, 2005

John Cage
Second Construction
Nigel Westlake
Omphalo Centric Lecture
Merkin Concert Hall, 2014

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Maurice Ravel
String Quartet
Merkin Concert Hall, 2008

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Leonard Bernstein
On The Town
Merkin Concert Hall, 2013

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Benjamin Britten
Simple Symphony for string
Merkin Concert Hall, 2012

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Antonin Dvorak
String Quartet in F « The American »
Merkin Concert Hall, 2009

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Antonio Vivaldi
Poccollo Concerto – The Fox and the Sparrow
Merkin Concert Hall, 2006

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Wolfgang Amadeus Mozart
Die Kleine Nacht Music
Merkin Concert Hall, 2012

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Carl Nielsen
Woodwind Quintet
Merkin Concert Hall, 2012

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