“You can't make a life out of not getting slapped in the face”

“You can't make a life out of not getting slapped in the face”
  • 2026.10.15. – 10.16.ARKO Arts Theater, Small Theater, Seoul Performing Arts Festival (SPAF)
  • 2025.3.7. – 3.13.ARKO Arts Theater, Small Theater
  • 2024.8.15. – 8.18.Hyehwa Art Space, 6th Feminism Theatre Festival

Credits

2026
“You can't make a life out of not getting slapped in the face” — 2026
2026.10.15. – 10.16.ARKO Arts Theater, Small Theater, Seoul Performing Arts Festival (SPAF)
출연 | 색자 글 | 색자, 구자혜 연출 · 프롬프터 | 구자혜 연출부 | 전박찬 프로듀서 | 김진이 드라마터그 | 루인 무대감독 | 이효진 시노그라피 | 김주슬기 사운드_목소 음향 · 영상 오퍼레이팅 | 전박찬 영문 자막 오퍼레이팅 | 류혜영 영문 자막 제작 | 임민정 실시간문자통역 | 장정수 수어통역 | 남진영
2025
“You can't make a life out of not getting slapped in the face” — 2025
2025.3.7. – 3.13.ARKO Arts Theater, Small Theater
글 | 색자, 구자혜 출연 | 색자 연출·프롬프터 | 구자혜 연출부 | 전박찬 제작 PD | 김효진 드라마터그 | 루인 무대감독 | 이효진 시노그라피 | 김주슬기 사운드 | 목소 오퍼레이팅 | 류혜영, 김주슬기 안무 코칭 | 최기섭 수어통역 | 이래봄(명혜진) 문자통역 | 장정수 접근성 | 조경란 음성해설 대본 | 구자혜 음성해설 | 조경란 그래픽 | 정동사 사진 | 혜정 기록 영상 | 유니온씨 티켓 | 공기(gongki.com) 〈없는 몸 있는 몸> 작창 | 김주슬기, 작사 | 구자혜 주최·주관 | 여기는 당연히, 극장 접근성 운영협력 | 아르코·대학로예술극장 후원 | 한국문화예술위원회 공연예술창작주체지원사업
2024
2024.8.15. – 8.18.Hyehwa Art Space, 6th Feminism Theatre Festival
출연_ 색자 글_ 색자, 구자혜 연출_ 구자혜 시노그라피_ 김주슬기 사운드_ 목소 무대감독_ 이효진 수어통역_ 명혜진 진행·오퍼레이팅_ 김효진, 류혜영 그래픽_ 임민정 안무 코칭_ 최기섭 사진_ 신현식 〈없는 몸 있는 몸〉 작사_ 구자혜 / 작창_ 김주슬기 주최/ 주관_페미니즘 연극제 운영위원회 제작_여기는 당연히, 극장 후원_한국여성재단

A Historiography of Solidarity, Survival, and Explosive Humor: The Life of a 70-Year-Old Transgender Woman in South Korea

At 70, Saekja—one of South Korea’s first-generation transgender women—takes the stage with fearless openness. At 14, she left school and home, surviving on the streets and in small inns, earning money through sex work with foreign gays. In 1981, she began working at South Korea’s first transgender bar.

Still active in nightlife, she transforms her life into performance with the unapologetic force of a strip act, even taking tips from the audience. Her stories chart a lifetime of survival: an illegal gender-affirming surgery in her 30s, public stigmatization during the 1980s AIDS panic, years as a celebrated queen in Japan, and her return to South Korea in her late 40s.

Against South Korea’s current backlash on student rights and its willful neglect in refusing to enact an anti-discrimination law, Saekja—who struggles to memorize lines at her age— recites Student Rights Ordinance itself, aligning with queer youth. She also speaks of transgender women still risking their lives in sex work, extending solidarity to senior queers. This solo performance turns self-objectification into a language of solidarity, becoming a living testimony of memory, courage, and collective resistance.

On stage, the director serves as her live prompter, echoing the gosu of Korean pansori. Their intergenerational duet—actor and director, seventy and forty—creates an unforgettable rhythm of honesty, humor, and defiance.

KO