불의 절벽 2
2011년 4월 5일, 6일 저녁 8시
국립극단 백성희장민호 극장
출연: 정혜신, 김태룡
불의 절벽 2는 다큐멘터리 연극이자 장소 특정적 퍼포먼스다. 정신과 의사 정혜신과 고문피해자 김태룡이 출연했다. 김태룡은 1979년 삼척 가족간첩단 사건으로 온 일가족이 연행되어 아버지는 사형, 어머니 3년 6월, 누나 5년, 동생 7년형을 받았었다. 대서특필되었던 이 사건에서 그는 무기형을 받고 19년을 감옥살이하다가 1998년 출소했다. 고문후유증으로 세상과의 소통을 거부했었고 간첩이라는 낙인 때문에 또한 세상으로부터 거부당한 채 살아왔다. 그러나 진실의 힘 재단을 통해 정혜신을 만나게 되고 점차 말할 수 있는 용기를 얻었다. 정혜신은 마인드프리즘 대표로서 집필 활동도 겸하며 고문피해자 치유모임을 만들어 많은 조작 간첩들을 고문 후유증으로부터 구해내고 있다.
냉전 이데올로기와 국가 공권력에 의해 파괴된 한 인간의 일상성은 어떻게 회복될 수 있을까. 정보기관의 각본에 의해서 온 가족이 북괴 무장 고정간첩으로 조작되었던 그의 과거와 증언을 호출했다. 장소의 기억을 지우고 각본을 연기하는 무대로 탈바꿈한 장소에 역으로 그 곳의 피해자가 귀환하는 기획이였다. 잊혀지길 바라는 국가권력의 희생자가 무대 위로 돌아온 날, 그는 그 곳의 주인공이었고 인간의 존엄성을 상기시켰다.
연극 무대로서의 공간 내부는 다큐적 공간이었고 증언이 끝날 무렵 무대 옆 문이 천천히 열리며 연결된 외부는 허구적 재구성을 통해 옛 기무사 수송대의 기억을 환기시켰다. 김태룡의 현재를 둘러싸고 있는 소리들로 믹스된 사운드가 퍼지고 바깥에서는 상상으로만 남은 과거의 현실을 재구성해낸 체포장면과 개를 이끄는 남자들이 연기했다. 이 모든 장면은 HD카메라와 열감지 카메라로 생중계되며 프로젝션되었다.
Time: April 5-6, 2011, 08:00 pm
Venue: Baek Seong-hui and Jang Min-ho Theater of National Theater Company of Korea
Directed by Minouk Lim
Performed by Hyeshin Jeong and Taeryong Kim
FireCliff 2 is a documentary theatre piece and site-specific performance featuring Hyeshin Jeong, a psychiatrist and Taeryong Kim, a victim of torture whose whole family were arrested for the Samcheok Family Spy Ring Case in 1979. The father was executed, the mother was sentenced to three and half years, elder sister to five years and younger brother to seven years in prison respectively. In this event which took over the headlines for quite some time, Kim himself received a lifetime sentence, had been in the prison for nineteen years and released in 1998. In the aftermath of torture, he had refused to communicate with others and been denied by them as well because of the stigma of having been a spy. However, Kim met Jeong through the mediation of the Power of Truth Foundation, Korea, and was able to gradually build the courage to speak up. Dr. Jeong, writer and head of Mind Prism, established an organization to help torture victims and has made efforts to save a lot of ‘made-up’ spies from the aftereffects of torture.
Festival Bo:m 2011 invited me to present a performance in the Baek Seong-hui and Jang Min-ho Theatre of National Theater Company of Korea. Because I had been inquiring into the theatricality of art since my 2009 SOS-Adoptive Dissensus performance on the Han River, one of my important themes was to evoke the memory of a space. So I decided to start with the fact that the theatre was constructed at the former Defense Security Command (aka Gimusa) site and put Kim onstage whom I had came to know while working with the foundation.
How can we recover the everyday life of a man which was destroyed by the Cold War ideology and the government’s public power? His past and testimony were summoned, in which all his family members had been turned into spies according to the fabricated scenario of the information agency. The curatorial plan was to arrange the return of the victim of that place, which now transformed into the stage—where real scenarios are played—, after erasing the memory of it. On the day when the victim of state power came back on the stage, he was a hero dominating the place and called forth human dignity which had been trampled on.
The stage was made into as a documentary space. Around the time when he finished his testimony, the side door of the stage was opening slowly, to awaken the memory of the old Gimusa. With a mix of sounds surrounding Kim today, the scene of the arrest, or the reconstituted past which existed only in imagination, was played by men who were dragging dogs, outside the stage. All these were aired and projected by a HD camera and a thermographic camera.
The memories of torture victims should be burned up or soar up on the ‘cliff of fire.’ Now in 2011, have we realized the world without torture that Kim desperately hoped? How deep is the gap between facts and fictions? By using media, FireCliff 2 brought on the stage the event and the person which the media cannot cover.
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