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Even in the age of 70, there are people who are on stage and burn their passion for acting.

Actor Kim Seong-nyeo, who is attracting attention as the first female Faust in Korea in the drama Faust ending, is here.




Q. After a year of acting, you were shown to the audience.



[Kim Seong-nyeo/Actor: The performance on April 3rd was the opening performance, but on March 30th, I fell down during the last practice rehearsal in the practice room.

So I was dislocated and fractured, but I couldn't do it either because of me, but the corona was so severe that the theater was all closed and the performance was canceled...

Still, I did it again a year later.

I think it was a divine revelation that I fell.

I think it's better to be able to do this for a month this year because it became a phone call.]




Q. Play'Faust Ending'...

What kind of work is it?



[Kim Seong-nyeo/Actor: It is a work recreated with Goethe Faust as a motif.

Faust, who was disillusioned with academics and tried to commit suicide with a passion to change the world in contradiction to humans, made a contract with the devil and sold his soul to make him passionate, and I would sign a contract with you.

Anyway, the original work is a life of wandering while striving, and receiving the salvation of God as a result of going on the path of desire, but here, Faust is willing to bear the sin that caused the end to go to hell, and it is the ending, that is, having a Faust ending. It's a little changed.]



Q.'Female Faust'…

What made you choose this work?



[Kim Seong-nyeo/Actor: I heard that I would play Faust, too, and I couldn't play a young role there, and I said what I do there, and it's the role of Faust.

So, as my mind flashes, this is an opportunity for me.

I can write a new history for the challenge.

And, like Faust, I got passionate and a desire to challenge, so I met the director and said I would cover it up.

I was really happy to think that it could be too honorable as an actor, at first.]




Q. The role of'male' in the original work...

Was there anything difficult? 



[Kim Seong-nyeo/Actor: Do you have to be masculine or female? I have a lot of thoughts about this, but then, whether male or female, let's go to the human faus without thinking about this.

So, because a labor scholar might be a woman.

As a human being, an actor named Sung-nyeo Kim can express it.

From then on, I saw the road going.

So, maybe people who see it will see it in a variety of ways, but I think you can see it with a neutral voice.]



Q. The topic of doll'wild dog'…

It's not a simple prop?



[Kim Seong-nyeo/Actor: Faust made a doll that breathes to give life to this doll.

Two actors stick together, and the actor and the doll communicate and breathe.

By the way, the puppet made of rattan is a very large puppet, and these things rush as you breathe and light comes out of your eyes.

So, there are 17 actors, but if you even make a puppet, the puppet looks more like a protagonist than an actor, as if twenty or a few actors do it on stage.




Q. What kind of work do you want to leave for the audience? 



[Kim Seong-nyeo/Actor: Faust's famous line that says he wanders while trying, no matter how many mistakes Faust makes while wandering, and even if he did something in vain, he is saved by God because the things he did while trying are beautiful.

But it's not really fair to be saved in the Faust ending.

That's why I say that I'm going to go to hell, refusing to be saved, with my sins that I should be responsible for.

From the time I practiced, the scene was very exciting.

So, there are so many people in the world who aren't responsible these days, and if they're just clumsy, can they like it if they're saved?

The world has changed a lot.

So, it seems that young people are very excited that the 21st century ending and the Faust ending will take responsibility for their sins and go to hell.]



Q. What are your goals or hopes for the future?



[Kim Seong-nyeo/Actor: Now that I am over 70 years old, I have the years that 70 gives me, the towers I have accumulated so far, and the play is an eternal analogue of the digital age, and I am so grateful to the visitors who come.

So, the taste of the acting that the annual ring gives to the thankful audience.

How can I show these things that are deep and thick, and it is my hope to take it as a topic and to stand on the stage until the 90 or so number is reached.]