{"product_id":"114320","title":"Mother tongue is better silence ","description":"\u003ccenter\u003e\u003cdiv style=\"text-align:center\"\u003e\u003cimg src=\"https:\/\/tmgdisk01.cafe24.com\/images\/vs\/4172\/sv\/3jYEEDT0sHF4sNU6KS830D1sNimSZR.png?v=1765125847\" style=\"max-width:100%;max-height:10px\"\u003e\u003c\/div\u003e\u003c\/center\u003e\n\u003ccenter\u003e\u003ctable\u003e\u003ctr\u003e\u003ctd style=\"height:10px\"\u003e\u003c\/td\u003e\u003c\/tr\u003e\u003c\/table\u003e\u003c\/center\u003e\n\u003ccenter\u003e\u003ctable\u003e\u003ctr\u003e\u003ctd style=\"height:10px\"\u003e\u003c\/td\u003e\u003c\/tr\u003e\u003c\/table\u003e\u003c\/center\u003e\n\u003ccenter\u003e\n\n\u003cdiv style=\"width:95%\"\u003e\n\n\u003cdiv style=\"text-align:center;font-size:30px;font-weight:bolder;line-height:1.6em\"\u003e Mother tongue is better silence \u003c\/div\u003e\n\n\u003ccenter\u003e\u003ctable\u003e\u003ctr\u003e\u003ctd style=\"height:10px\"\u003e\u003c\/td\u003e\u003c\/tr\u003e\u003c\/table\u003e\u003c\/center\u003e\n\n\u003ccenter\u003e\u003ctable\u003e\u003ctr\u003e\u003ctd style=\"height:10px\"\u003e\u003c\/td\u003e\u003c\/tr\u003e\u003c\/table\u003e\u003c\/center\u003e\n\n\u003ccenter\u003e\u003ctable\u003e\u003ctr\u003e\u003ctd style=\"height:10px\"\u003e\u003c\/td\u003e\u003c\/tr\u003e\u003c\/table\u003e\u003c\/center\u003e\n\n\u003ccenter\u003e\u003ctable\u003e\u003ctr\u003e\u003ctd style=\"height:10px\"\u003e\u003c\/td\u003e\u003c\/tr\u003e\u003c\/table\u003e\u003c\/center\u003e\n\n\u003cdiv style=\"border-bottom:1px;border-bottom-style:dotted;border-color:;padding-bottom:20px\"\u003e\u003ccenter\u003e\u003ctable align=\"center\" width=\"100%\"\u003e\u003ctbody style=\"border:0px\"\u003e\n\n\u003ctr\u003e\u003ctd align=\"center\" style=\"line-height:1.2em;text-align:center;font-size:18px;color:black;font-weight:bold;padding-bottom:20px;\"\u003e\u003c\/td\u003e\u003c\/tr\u003e\n\n\u003ctr\u003e\u003ctd style=\"text-align:center\"\u003e\u003cimg src=\"https:\/\/image.yes24.com\/goods\/104089399\/XL\" style=\"max-width:100%;height:auto\"\u003e\u003c\/td\u003e\u003c\/tr\u003e\n\n\n\u003c\/tbody\u003e\u003c\/table\u003e\u003c\/center\u003e\u003c\/div\u003e\n\n\u003ccenter\u003e\u003ctable\u003e\u003ctr\u003e\u003ctd style=\"height:10px\"\u003e\u003c\/td\u003e\u003c\/tr\u003e\u003c\/table\u003e\u003c\/center\u003e\n\n\u003ccenter\u003e\u003ctable\u003e\u003ctr\u003e\u003ctd style=\"height:10px\"\u003e\u003c\/td\u003e\u003c\/tr\u003e\u003c\/table\u003e\u003c\/center\u003e\n\n\u003cdiv style=\"width:95%;{split_style6}padding-top:20px;padding-bottom:20px\"\u003e\n\n\u003cdiv style=\"text-align:left;font-size:16px;font-weight:bold;padding-bottom:20px\"\u003e Description \u003c\/div\u003e\n\n\u003cdiv style=\"text-align:left;word-break:break-all;font-size:14px;line-height:1.6em;\"\u003e\n\n\u003cdiv\u003e\u003ch5\u003e \u003cb\u003eBook Introduction\u003c\/b\u003e\n\u003c\/h5\u003e\u003c\/div\u003e\n\u003cdiv\u003e\n\u003ctable\u003e\u003ctbody\u003e\u003ctr\u003e\u003ctd\u003e\u003cdiv\u003e\u003cdiv\u003e \u003cb\u003e“Because there is nothing more valuable than the beauty that knows sorrow.”\u003cbr\u003e A voice tracing the traces left behind by things that have disappeared\u003cbr\u003e Critical essays by performance art theorist Mok Jeong-won\u003c\/b\u003e\u003cbr\u003e  \u003cbr\u003eThe prose collection 『My Mother Tongue Would Rather Be Silent』 by performing arts theorist Mok Jeong-won has been published by Achimdal.\u003cbr\u003e This book is about art, people, and disappearing things that Mok Jeong-won encountered during his six years in France and two years in Korea, starting in 2013.\u003cbr\u003e Writing and talking about performing arts can be a difficult task to avoid feeling empty.\u003cbr\u003e Because it is a temporal art that occurs and disappears at the same time.\u003cbr\u003e The work appears briefly before the audience's eyes and then disappears, leaving only a fading memory behind.\u003cbr\u003e Nevertheless, Mokjeongwon wants to talk about disappearance, and rather write about it when the work has become sufficiently faint even to himself.\u003cbr\u003e To pass on the traces that still remain in our memories and the things that cannot be put into words even after an era has passed.\u003cbr\u003e This book is a critique and a letter to such sad and beautiful things.\u003cbr\u003e\u003cbr\u003e\n\u003c\/div\u003e\u003c\/div\u003e\u003c\/td\u003e\u003c\/tr\u003e\u003c\/tbody\u003e\u003c\/table\u003e\n\u003cdiv\u003e\u003cul\u003e  \u003cli\u003eYou can preview some of the book's contents.\u003cbr\u003e \u003cspan\u003ePreview\u003c\/span\u003e\n\n\u003c\/li\u003e\n\u003c\/ul\u003e\u003c\/div\u003e\n\u003c\/div\u003e\n\u003cbr\u003e\u003cdiv\u003e\u003ch5\u003e \u003cb\u003eindex\u003c\/b\u003e\n\u003c\/h5\u003e\u003c\/div\u003e\n\u003cdiv\u003e\n\u003cdiv\u003e Late-Written Criticism 05\u003cbr\u003e 11 in space\u003cbr\u003e Spring Festival 21\u003cbr\u003e Solen 35\u003cbr\u003e Audience School 45\u003cbr\u003e 64 to Mr. Kim Dong-hyun\u003cbr\u003e The Origins of Tragedy 69\u003cbr\u003e 83 in Contigne\u003cbr\u003e Terror and Theater 95\u003cbr\u003e 116 to watch the play till the end\u003cbr\u003e Uncle Jean-Claude 127\u003cbr\u003e Sharing the dance 153\u003cbr\u003e Mother tongue is better silence 175\u003c\/div\u003e\n\u003cdiv\u003e\u003c\/div\u003e\n\u003c\/div\u003e\n\u003cbr\u003e\u003cdiv\u003e\u003ch5\u003e \u003cb\u003eDetailed image\u003c\/b\u003e \u003c\/h5\u003e\u003c\/div\u003e\n\u003cdiv\u003e\u003cdiv\u003e\u003cimg src=\"https:\/\/image.yes24.com\/momo\/TopCate3642\/MidCate004\/364132962.jpg\" border=\"0\" alt=\"Detailed Image 1\"\u003e\u003c\/div\u003e\u003c\/div\u003e\n\u003cbr\u003e\u003cdiv\u003e\u003ch5\u003e \u003cb\u003eInto the book\u003c\/b\u003e\n\u003c\/h5\u003e\u003c\/div\u003e\n\u003cdiv\u003e\n\u003cdiv\u003e\n\u003cdiv\u003e The day I left Paris, a friend came to the airport to see me off.\u003cbr\u003e Before I left, I cried, not because of my departure, but because of his being left behind.\u003cbr\u003e As I walked away, I looked back at her a lot.\u003cbr\u003e It was written in the text I received before boarding the plane that he was like a wonderful Orpheus who looked back over and over again as if he was not afraid of anything.\u003cbr\u003e If someone asks me what I did in Paris, I would say I just existed. \u003cbr\u003eStanding, sitting, or lying in space, I have finally developed a body that can travel anywhere, having sensed the entire world.\u003cbr\u003e Still, I wanted to see the face that remained there just one more time.\u003cbr\u003e --- p.18, from “In Space”\u003cbr\u003e\u003cbr\u003e If he had only danced, if he had only been a prince or a clown, the world would have loved him.\u003cbr\u003e But as he stopped flying and rolled on the ground, the world also stopped loving him.\u003cbr\u003e Of course, love and loneliness are not compatible, so even if he had only danced and been loved, he would have been deeply lonely.\u003cbr\u003e So instead of remaining a genius dancer, he became a choreographer who was neglected.\u003cbr\u003e\u003cbr\u003e --- p.24, from “The Rite of Spring”\u003cbr\u003e\u003cbr\u003e I once thought that the most appropriate definition of the word 'contemporary' is 'people who have witnessed death together'.\u003cbr\u003e We are people who have endured the times and witnessed the deaths of those who could not endure the times. \u003cbr\u003eSo, there are people who share their memories of certain deaths without explanation.\u003cbr\u003e Rather than people who laugh together, there are people who cannot laugh together.\u003cbr\u003e People who find something rarely funny.\u003cbr\u003e --- p.47, from “Audience School”\u003cbr\u003e\u003cbr\u003e In French, the word for ghost is revenant, which literally means 'one who returns'.\u003cbr\u003e The person who left cannot leave forever and returns again.\u003cbr\u003e The absent one becomes present.\u003cbr\u003e Coming in and out, appearing and wandering.\u003cbr\u003e Maybe because I still have something to say.\u003cbr\u003e Because there is an undisclosed truth.\u003cbr\u003e Because that death cannot be a pleasant goodbye.\u003cbr\u003e Because I can't convince myself and give up.\u003cbr\u003e Because I'm sick.\u003cbr\u003e Because the pain is indescribable.\u003cbr\u003e Because only the living can say that.\u003cbr\u003e\u003cbr\u003e --- p.80, from “The Origin of Tragedy”\u003cbr\u003e\u003cbr\u003e And that day, she couldn't kill anyone because she was doing a play.\u003cbr\u003e Angelica Riedel.\u003cbr\u003e A person who creates screaming works from the scars of the world's swamps. \u003cbr\u003eOne who mocks the gross hypocrisy of humanity, pities those who have not yet cried enough, and despairs endlessly over not being loved by anyone.\u003cbr\u003e She digs through a pile of dirt on stage, lies down on it and masturbates, carries dozens of sofas, cuts up a lemon and rubs it on her legs, waves her arms in the air, pours alcohol over her head, makes eye contact with a stuffed animal, and draws her own blood.\u003cbr\u003e\u003cbr\u003e --- p.96, from “Terror and Theater”\u003cbr\u003e\u003cbr\u003e The ticket cost 6 euros and it said this in one corner:\u003cbr\u003e “No visibility.” It was funny how such an extreme expression of what would have been something like “limited visibility seat” in Korean was used.\u003cbr\u003e That seat, while honesty was good, I also wondered why it was being sold.\u003cbr\u003e That balcony seat.\u003cbr\u003e A multi-level room facing the orchestra pit, right next to the stage.\u003cbr\u003e Two-thirds of the stage was covered, encouraging resignation and imagination.\u003cbr\u003e There were more things you could see there than you couldn't see.\u003cbr\u003e \u003cbr\u003e--- p.129, from “Uncle Jean-Claude”\u003cbr\u003e\u003cbr\u003e If you dance, I will follow you even if I am sitting still.\u003cbr\u003e That's love.\u003cbr\u003e How heavily the leaping body on the stage must tense its muscles to appear so light, how dizzyingly the endless spinning avoids the dizziness, how the knees that crawl on the floor flatten with a tingling sensation.\u003cbr\u003e Only through our bodies can we see, know, and sense dance as much as we can imagine.\u003cbr\u003e\n\n\u003c\/div\u003e\n\u003cdiv\u003e --- p.155, from “Sharing the Dance”\u003c\/div\u003e\n\u003c\/div\u003e\n\u003cdiv\u003e\u003c\/div\u003e\n\u003c\/div\u003e\n\u003cbr\u003e\u003cdiv\u003e\u003ch5\u003e \u003cb\u003ePublisher's Review\u003c\/b\u003e\n\u003c\/h5\u003e\u003c\/div\u003e\n\u003cdiv\u003e\n\u003cdiv\u003e \u003cb\u003eThe power to remember sorrow\u003c\/b\u003e\u003cbr\u003e\u003cbr\u003e Do we only love things that are tangible?\u003cbr\u003e Could it be possible to love a face you've never seen before even more?\u003cbr\u003e If you still have to lean on something, what more traces do you need to keep loving?\u003cbr\u003e ─ Page 28.\u003cbr\u003e\u003cbr\u003e The characteristic of temporal art lies in disappearance. \u003cbr\u003eUnlike spatial art, such as painting, which exists in space continuously once completed and is not destroyed, temporal art, such as theater, appears in space and time for a while and then disappears.\u003cbr\u003e If it is something that appears and disappears, it is not only temporal art.\u003cbr\u003e Human life, like a performance, remains in the world and flows into time.\u003cbr\u003e They all fade away in human memory, but they leave behind some traces.\u003cbr\u003e Of course, leaving traces and leaving existence are different things, so there is fundamental sadness in all of this.\u003cbr\u003e\u003cbr\u003e Mokjeongwon speaks about the traces of sadness that we encounter in art and life.\u003cbr\u003e Through The Rite of Spring, audiences a hundred years later recall the life of choreographer Nijinsky and his dances they have never seen before.\u003cbr\u003e What would it be like to restore or recreate a work whose original text was lost without the dance being recorded? \u003cbr\u003eIt is to love the face of someone you have never seen before, and to recreate that face by collecting the traces he left behind.\u003cbr\u003e\u003cbr\u003e Looking back on his time with costume designer Solen, the author talks about the special nature of stage costumes.\u003cbr\u003e Stage costumes are made for one performance only.\u003cbr\u003e Those clothes are worn for a short time on stage and then become useless and are stored in storage or become collections of enthusiasts.\u003cbr\u003e Therefore, the work of making clothes is a work of uniqueness that arises and then disappears, and in this case, the stage costume itself becomes a metaphor for life.\u003cbr\u003e This reminds Mokjeongwon of choreographer Alain Platel's Tauberbach, which features Bach sung by deaf people who cannot hear their own voices, along with hundreds of clothes piled up like a tomb on stage. \u003cbr\u003eThe dancers dance to a song that defies the music, disappear into a tomb of clothes, and emerge from the tomb dressed in clothes.\u003cbr\u003e Next, recalling another work by Alain Platel, “Out of Context – For Pina Bausch,” Mok Jeong-won thinks about seeing a dance that some cannot see and hearing a song that others cannot hear.\u003cbr\u003e About the sadness that comes with an experience that is forbidden to some, something that is as good as gone.\u003cbr\u003e\u003cbr\u003e I feel like there's still so much we don't know about becoming proper contemporaries.\u003cbr\u003e There is so much we don't know, and it's all about the pain of others.\u003cbr\u003e So, without us knowing, some people have gone far away.\u003cbr\u003e To a place where the letters left behind will not be deciphered.\u003cbr\u003e To a place where unforgettable things are forgotten.\u003cbr\u003e ─ Page 47.\u003cbr\u003e \u003cbr\u003eMok Jeong-won reads the deaths that have become the history of our bodies, which we know because we witnessed them as contemporaries, from writer Bae Sam-sik's \"Woman Coming from afar,\" and writes a letter to the deceased after watching a performance commemorating director Kim Dong-hyun.\u003cbr\u003e It focuses on women who died in reality and in works, and on Antigone, who mourns her brother's death even in defiance of the king's orders.\u003cbr\u003e In the wake of the 2015 terrorist attacks in France, when the sadness and fear of death weigh heavily on theaters, the play of Angelica Riedel, which confronts the world's suffering in a disturbing way, and Romeo Castellucci, which unintentionally recreates the tragedy, reflect on what it means to be alive and present in the face of the many dead.\u003cbr\u003e \u003cbr\u003eFor the author, burying memories of various losses for a long time and then finally putting them into words seems to be a way of resolving grief and also a way of mourning through things that remain after they disappear.\u003cbr\u003e Such mourning may be similar to the act of gathering the traces of the departed and re-drawing their face, as in the Rite of Spring, or it may be like the face of Eurydice that Orpheus sees for the last time.\u003cbr\u003e If the act of recalling the face of someone you long to see leads to the act of remembering, then that task inevitably involves love.\u003cbr\u003e\u003cbr\u003e Love is the power that enables us to remember something beyond its own memory, and to be engraved on the bodies of others beyond our own. \u003cbr\u003eThrough anecdotes about the artist Jean Villar who loved his audience, the story of his friendship with Uncle Jean-Claude who loved opera, and lyrics sent to the author's maternal grandfather whom he loved, Mokjeongwon also tells us that love is something that conveys many things to others, and that people can continue to live by making traces of such love their legacy.\u003cbr\u003e\u003cbr\u003e I share a song with you.\u003cbr\u003e You will go to another place and share some of the song.\u003cbr\u003e Inscribe the sorrow you have witnessed on your body.\u003cbr\u003e Dancing to your breath.\u003cbr\u003e In love again.\u003cbr\u003e In this way, we become ourselves, and then finally disperse into what we are not.\u003cbr\u003e After death, does only the soul remain?\u003cbr\u003e Will we still be able to love each other then?\u003cbr\u003e Even if we don't have bodies to reflect each other.\u003cbr\u003e Could every season begin with a dance?\u003cbr\u003e ─ Page 172. \u003cbr\u003e\n\n\u003c\/div\u003e\n\u003cdiv\u003e\u003c\/div\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\n\n\u003c\/div\u003e\n\n\u003ccenter\u003e\u003ctable\u003e\u003ctr\u003e\u003ctd style=\"height:10px\"\u003e\u003c\/td\u003e\u003c\/tr\u003e\u003c\/table\u003e\u003c\/center\u003e\n\n\u003ccenter\u003e\u003ctable\u003e\u003ctr\u003e\u003ctd style=\"height:10px\"\u003e\u003c\/td\u003e\u003c\/tr\u003e\u003c\/table\u003e\u003c\/center\u003e\n\n\u003cdiv style=\"width:95%;padding-top:20px;padding-bottom:20px\"\u003e\n\n\u003cdiv style=\"text-align:left;font-size:16px;font-weight:bold;padding-bottom:20px\"\u003e GOODS SPECIFICS\u003c\/div\u003e\n\n\u003cdiv style=\"text-align:left;font-size:14px;line-height:1.6em;\"\u003e\n\n \u003cdiv style=\"width:100%;margin-bottom:5px;line-height:1.6em;font-size:14px\"\u003e- \u003cstrong\u003ePublication date:\u003c\/strong\u003e October 15, 2021\u003c\/div\u003e\n\n\u003cdiv style=\"width:100%;margin-bottom:5px;line-height:1.6em;font-size:14px\"\u003e - \u003cstrong\u003eFormat:\u003c\/strong\u003e Hardcover book binding method guide\u003c\/div\u003e\n\n\u003cdiv style=\"width:100%;margin-bottom:5px;line-height:1.6em;font-size:14px\"\u003e - \u003cstrong\u003ePage count, weight, size:\u003c\/strong\u003e 188 pages | 312g | 127*200*15mm\u003c\/div\u003e\n\n\u003cdiv style=\"width:100%;margin-bottom:5px;line-height:1.6em;font-size:14px\"\u003e - \u003cstrong\u003eISBN13:\u003c\/strong\u003e 9791189467302\u003c\/div\u003e\n\n\u003cdiv style=\"width:100%;margin-bottom:5px;line-height:1.6em;font-size:14px\"\u003e - \u003cstrong\u003eISBN10:\u003c\/strong\u003e 1189467305 \u003c\/div\u003e\n\n\n\u003c\/div\u003e\n\n\n\u003c\/div\u003e\n\n\n\u003c\/div\u003e\n\n\u003ccenter\u003e\n\n\u003ccenter\u003e\u003ctable\u003e\u003ctr\u003e\u003ctd style=\"height:10px\"\u003e\u003c\/td\u003e\u003c\/tr\u003e\u003c\/table\u003e\u003c\/center\u003e\n\n\u003ccenter\u003e\u003ctable\u003e\u003ctr\u003e\u003ctd style=\"height:10px\"\u003e\u003c\/td\u003e\u003c\/tr\u003e\u003c\/table\u003e\u003c\/center\u003e\n\n\u003cspan\u003e\u003c\/span\u003e\n\n\u003c\/center\u003e\n\n\n\u003c\/center\u003e","brand":"LIBRAIRIE COREENNE","offers":[{"title":"Default Title","offer_id":43894876799018,"sku":"114320","price":25.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0683\/2750\/5962\/files\/d7a6b668649392607e6c377aa8b817eb.jpg?v=1765449871","url":"https:\/\/librairie.coreenne.fr\/en\/products\/114320","provider":"LIBRAIRIE COREENNE","version":"1.0","type":"link"}