SIN CHA HONG'S "GODOT"

Sin Cha Hong writes that Beckett's play "has always been a source of spiritual and artistic creativity" and that she is "also, somewhat, waiting for Godot throughout my process of dance and meditation, just like Estragon or Vladimir." She describes recreating the play in dance drama as "a very meaningful turning point in my life."

Sin Cha Hong is alone on stage. She awakens beneath the tree, as if to indicate that she has always been there. There is no dialogue, only slow, affective movement, accompanied by a percussive score that would, in Beckett's words, "hold the terrible silence at bay." The shoes are manipulated like puppets, as is a large white coverlet which she tears off her bed and surrounds herself, resembling the placenta of a kitten at birth. There are ingenious, delicately-designed lighting images, as when the tree is projected as a shadow upon Sin Cha Hong's white gown. Overall, there is a feeling of beautiful solitude (implying, perhaps, that the path to enlightenment is a lonely one?) and of the many changes that happen to you while waiting--a journey from agony to laughter.

The production had its world premiere in July, 2008 at Seoul Arts Center's Jayu Theater. It was heralded as the first dance interpretation of the work ever done in Korea, and probably the world. Korean reviews portrayed the work as one of deep spirituality.

Sin Cha Hong performed the American debut of her "Godot" from November 20 to 30, 2008 at La MaMa Experimental Theater Club in New York City.

EXCERPTS OF NEW YORK REVIEWS

Just as the full title of Liszt's "Dante Sonata" is Sonate d'après une lecture de Dante, so Hong provides us with a Danse d'après une lecture de Beckett. What is important for Liszt and Hong is not specific plot developments, but the personal feelings that arose in them after reading their literary sources....Hong lets the play take her into realms of spiritual questing. Well, that's her view, one that others may not share. But. with her focused presence she makes that view theatrically viable.
-- Jack Anderson, New York Theatre Wire

Hong's character is an older woman, remembering her glorious past, lazily and luxuriously living in the present, while clearly fearful of the future's uncertainties....The dance's verbal silence is broken by a meditation on ego and death, questioning ego-death, a very Buddhist concept yet a fitting monologue for Hong's character. I'm sure Beckett would have thrilled to be in such company...."Godot" is a fitting tribute to artists by an artist. You will leave inspired and encouraged by Hong's sincerity through her homage to a great play.
--Larry Litt, New York Theatre Wire


There are many exciting moments in the piece - the sexy red shoes, the ghost scene where she nearly disappears in a white cloth on the floor (a short-lived taste of 'Ringu'), the rope section which reflects back to the original play, and moving moments like the recorded music sung by the unique voice of Lisa Karrer and the traditional Jewish lullaby on tape that comes at the end. I cannot begin to describe the intelligence that went into this piece. The 21st century is the time for 'smart' dancers, and here is one.
-- Elodie Lauten, Music Underground

Hong's unflinching commitment to her visually and spiritually meditative choreography is admirable
-- Shelley Molad, nytheatre.com

OTHER WORKS

If you are interested in other works by Sin Cha Hong, please click below for information on: