Miryang Theatre Village. Guerilla theatre, Seoul, South Korea, February 2011
Author, William Shakespeare / Director, Alexander Zeldin / Lighting, Ingon
‘…Samal Blak’s simple but functional stage design…. He plays the space like playing an instrument and makes the space very dynamic.
…The camera at the ceiling reflects the couple’s reaction toward guilt,oppression, laws, father, and destiny. When Macbeth is outrageous or skeptical, he’s crying directly to the camera, amplifying his emotions, and at the same time, amplifying the theater space as well. All these are projected to the closed blinds which work as a screen when closed. The video project is used to widen the meaning of the text.’
— Sookhyeon Kim, (Korean Theater) Monthly Magazine. March Edition
‘…a unique concept… The set design takes a big role in this piece as much as actors… The vertical blinds at the balcony reflects the actors on the stage, delivering the psychology of the characters more efficiently. We can see small videos from the small screen below the balcony, and that gives us the impression that all the characters are being watched, and make us be aware of the absolute power above. The cult members’ visit to Macbeth’s house with candles, instead of the witches, exudes religious atmosphere as well.The stage that started from a small, modern living room doesn’t stop making new images, making a lot of different spaces in our imagination.’
— (Auditorium) Monthly Magazine. March