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The basic activities of < Ladder Movement Lab > are,

Body movements and mimes, objects, dolls, masks, media  and through text reconstruction

“Creation of a new theatrical language”  And in “Exploring Our Identity”  It is based on

It is produced on stage with the following five codes and the research and experiments that follow.


First, by recognizing the stage as a 'poetic architectural space',  in divinity or truth

It removes the disguised shell and transforms it into a scientific, analytical and intuitive space.


Second, by liberating the stage from the linear yoke of the six-and-lower principle and win-win,  

Realize non-linear, sensuous art that develops themes in a pluralistic way.


Third, the stage is now breaking away from the field that embodies the 'idea of literary play',  

Through a new aesthetic, 'the original function of naked text - text as material'

     Recognize it as a space for recovery.


Fourth, the stage is no longer a function of record and historical reproduction of TV and radio.

in other words,  Breaking away from the everyday language of 'representation' and 'replay', the artist's

transcendental instinct  It is perceived as a field as a space of energy that embodies and super-everyday life.


Fifth, the stage displays the styles of the times like ornaments,

Breaking away from being provided as a one-dimensional box describing space,  

that can function through organic fusion with dramatic language  

  It is recognized as 'objectified space'.

Through the above five principles, we ultimately 'look ahead' and seek to reveal 'our identity' anew. The identity is very difficult to define as one because it exists in many places where we have lived. 'Genericity' is a 'property that a being has intrinsically', and it refers to the body. The body exists within the time, space and rhythm of human life, and the time of life is accumulated and titled in the body like a tree ring. That is, to reveal.

In addition, time and space and rhythm have influenced humans from the beginning, and have transformed into different cultures in various parts of the world today. Therefore, the human body and space-time rhythm are closely related to the cultural formation and characteristics of the country and society. Therefore, 'looking far ahead' will be found in the process of researching and analyzing the past, and it has always suggested 'a new creative basis for the future'.

Therefore, this research institute 'studys the body', which is the origin of its 'identity', researches and analyzes its space, posture, gait, speed and rhythm, etc.

Every space (architecture) in which we live is dreaming of 'dramatic movement', and it has a great influence on the people who live in it. As an example, we do not act, walk and sit in the same way in a space of a traditional hanok style and an apartment-type space built with the concept of the Bauhaus. This is because our body changes and adapts at the very moment our body changes space.

So, in order to understand the dynamics of the body, we study the gait, body space, immobility, human passions, colors, light, elements and materials, power, dynamism, expandability, conflict, etc. explore And the results we are researching and aiming for are sculptures, texts, stage equipment, masks, figures, dolls, objects, music, images, sounds, movements, dances, etc. work to reduce.

Through the above research and work process, this institute will explore the identity we want to know and obtain through the aspiration for creation, and the pursuit of 'poetic body and space' of invisible semantics. It will be built through a new wave of 'looking ahead' on the stage.

The 'sanctity of the stage' does not protect it, but exists where it is violated and violated.

As the saying goes, “Building is for tearing down.”

By awakening and destroying the sanctity itself, the sanctity becomes more and more sacred.


- Im Do-wan

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