By Honorary Reporter Eugenia Babini from Italy

Photos = Eugenia Babini

I saw a theatrical adaptation of "The Vegetarian" on Nov. 29 at the theater Triennale in Milan, Italy. Based on the novel by Nobel Prize-winning author Han Kang, the work was a poignant exploration of the book's themes in a 110-minute performance.

Having toured major Italian cities like Rome and Bologna, the production was a resounding success. Featuring a cast with famous Italian actors, the show masterfully bridged Korean literature and Italian theater to show the universal appeal of Han's storytelling.

Daria Deflorian directed the work and played the protagonist Yeong-hye. I found it intriguing to see a Korean work interpreted from Western eyes and wanted to understand how the book would be like as a play. Deflorian's performance perfectly captured the haunting and unsettling essence of the novel's key moments.

The minimalist set design heightened the emotional impact. Two doors, a mattress propped against a gray wall, and the absence of vivid colors reflected the stark interplay of light, shadow and projected imagery. This simplicity mirrored the novel's themes of isolation and anguish, creating an atmosphere as gripping as the book's.

"The Vegetarian" is about a woman who chooses to cut out meat in her diet, starting a gradual metamorphosis. Her decision negatively affects her surroundings and lifestyle.

Reading about this in newspapers, I wondered how such a complex theme could be conveyed to the stage. I was pleasantly surprised by what I saw, as it brought people closer to this type of writing as well as the author.

 

The central part of the story is of the growing interest of Yeong-hye's brother-in-law in her and his desire for her to be a "canvas" for his art. I found the set design for this highly aesthetic and liked how it was interpreted. 

The brother-in-law sat on the floor crouched on a small low table, and the only light in the scene was on the table that shines on his sheets. He painted the same lines projected on Yeong-hye's body like he was painting her.

Even more beautiful was the second part of the scene, in which the protagonist's sister discovers this, because she also crouched on the table and pulled a long nylon ribbon that ends up all over the stage. Photos of her husband's artistic works were projected on the wall, the only colored things in the show.

This adaptation captured the essence of the novel and helped the audience connect with her powerful story, showing how her work came to life through theater.

msjeon22@korea.kr

*This article is written by a Korea.net Honorary Reporter. Our group of Honorary Reporters are from all around the world, and they share with Korea.net their love and passion for all things Korean.