Actor Seo Min-kyun on 33 Years on Stage: "Theater is My Life"

[Reporter Kye's Field Talk! Talk!] Actor Seo Min-kyun, who has guarded the stage for 33 years: "Theater is my natural daily life"

A boy who dreamed of becoming a writer while composing poetry and novels entered the world of theater with a desire to express his own words directly. Stepping beyond the boundaries of university to jump straight into the Daehak-ro scene, he began his serious path as an actor with the play "Happiness Does Not Come in Grades."

Whenever he encounters a new work, Seo builds a firm acting philosophy by deeply grasping the intentions of the director and the writer before focusing on the character itself.

Actor Seo Min-kyun (Photo by Reporter Kye Kyung-nam)

The vague dopamine and the sound of applause he felt on stage in his early 30s have now, as time has passed, become a destiny and a daily routine that constitutes his entire life. Among his numerous works, totaling over 140, the play "Insult to the Audience," which he performed for 12 years, and his meetings with audience members who visited more than 100 times, have become precious assets that remind him of his reason for being an actor.

Wary of the vertical and coercive production environments of the past, he now works as a director to create a joyful and free rehearsal atmosphere by bringing out the strengths of his actors.

Constantly craving novelty, he says he wants to challenge himself with roles involving LGBTQ+ themes that can showcase delicate and deep emotional textures, similar to those seen in works like the film "Happy Together" or the novel "Twinkle Twinkle."

We met actor Seo Min-kyun, who has not forgotten the initial mindset he had when he first stood on stage, during [Reporter Kye's Field Talk! Talk!].

Reporter Kye Kyung-nam conducting an interview with actor Seo Min-kyun.

- What was the decisive reason you took your first steps onto the stage?

It started with writing. Originally, I dreamed of being a writer of poetry and novels. During my high school years, there was a moment when I submitted a poem to the school magazine and it was recited during a festival, but seeing it being read so differently from my actual sensibilities, I thought it would be better if I expressed it myself. So, the following year, I went on stage and recited the poem myself.

The influence of my eldest brother, who was in theater, was also significant. Watching his performances by his side, I was naturally fascinated by the medium of theater, and from around my third year of high school, I began to seriously consider the path of an actor.

- You entered university but jumped into the Daehak-ro field midway through. It must have been a difficult decision; what was the reason?

I judged that learning by directly bumping into the field in Daehak-ro was much faster and more accurate than staying within the boundaries of school. Although many graduates of theater and film departments come out every year, once they enter the field, they often have to start again from square one. Rather than pouring four years of time and cost into academia, I thought it was right to experience the field even one day sooner.

During that time, I luckily passed an audition, and my professional life began. I took my first step into Daehak-ro by debuting in the role of the protagonist 'Kang Chang-su' in a play dramatized from the film "Happiness Does Not Come in Grades."

- When you take on a work or a new character, do you have a specific preparation method or standard unique to you?

Rather than looking at my character's lines or stage directions first, I read the entire work deeply from beginning to end. Before immersing myself in the character, I try to prioritize understanding the intention of the director.

Actor Seo Min-kyun reads the entire work deeply from beginning to end. He holds the script from the performance held last June. (Photo provided by Seo Min-kyun)

This is because I must know exactly how the director intends to shape this work on stage and what color they wish to imbue it with so that my acting can blend in harmoniously.

After understanding the director's perspective, I look into the writer's intention. Since I first grasp the overall structure and flow of the work, my speed in mastering the lines naturally increases, and I gain the strength to respond flexibly even when unexpected variables occur on stage.

- You have spent 33 years on stage. What does 'theater' mean to you now?

It has been a long time since I started theater. When I first started in my early 30s, I simply loved that dopamine felt when standing on stage and receiving applause from the audience. It was a time when I went on stage looking only for that single thrill.

However, now that I have walked this long path, my perspective has changed. Theater is no longer just a job. It is a destiny I must constantly embrace, and it has become the very essence of my life.

I am an actor on stage, but I also meet the stage as a director and sometimes as a writer. Because of this, theater has become an inseparable part of my existence. Since this isn't a profession with a fixed retirement age, there is no concept of retiring. It is a lifelong task to improve myself and remains the most natural part of my daily life.

- Among your more than 140 works, is there a particular production or audience encounter you remember most?

Definitely the play "Insult to the Audience." I performed that role for three months every year for 12 years, making it the longest relationship of my acting career.

I remember one specific audience member from that time. They would personally book a ticket and sit in the exact same seat every single time; they attended more than 100 performances. Eventually, if that seat was empty before a show, I would actually worry if they were feeling unwell.

In the end, the theater company invited them to an after-party to express our gratitude, and we have maintained a precious connection to this day. It was an experience that made me realize how much strength an audience provides to an actor.

- You are also active as a director. Having experienced the rigid production environments of the past, what do you focus on when working with actors?

In my younger years, I stood on stage with raw energy and temperament, but now I try to breathe with the audience through experience and maturity. When directing, I strive not to repeat the coercive environments I experienced in the past.

Theater is ultimately about the relationship between people. A director must create a space where actors can maximize their strengths and play freely. I believe that a joyful rehearsal atmosphere is what allows an actor's true performance to emerge, so I focus most on respecting the actors' opinions and creating an environment where they don't feel intimidated.

- Are there any specific roles or stages you wish to challenge in the future, and how do you want to be remembered by your audience?

As an actor, I want to challenge myself with roles involving LGBTQ+ themes that require extreme detail and delicate emotional lines. Much like the sensibilities found in the film "Happy Together" or the novel "Twinkle Twinkle," I want to encounter works that show delicate, deep emotional textures rather than something harsh or dark.

My ultimate goal is always the audience. If my acting can provide warm comfort and solace to even just one person, that is reason enough to stand on stage. I want to remain an actor who never loses the initial mindset of my first performance, someone who can read the audience's heart and provide the comfort they need.

Never forgetting his roots, Seo Min-kyun hopes to remain an irreplaceable actor by the side of his audience, offering warm comfort and solace to every individual.