Park Jeong-ja (actress)

Park Jeong-ja
Park Jeong-ja
박정자
Born	12 March 1942 (age 82); Sorae Port, South Korea
Other names	Park Masako
Alma mater	Ewha Womans University Honour Diploma
Occupation	Actress
Years active	1962–present
Organization	National Academy of Arts of Korea
Relatives	Park Sang-ho (brother); Park Seong-jun (nephew);
Awards	Lee Hae-rang Theater Award
Honours	Bogwan Order of Cultural Merit (2007)
Korean name
Hangul	박정자
Hanja	朴正子
Revised Romanization	Bak Jong-ja
McCune–Reischauer	Pak Jŏngja

Park Jeong-ja (Korean: 박정자; Hanja: 朴正子, born March 12, 1942) is a South Korean actress. She made her debut as a theater actor in 1962 and is recognized for her intense, passionate, and intelligent performances. Park is the most critically acclaimed theater actress in South Korea. In 1997, Park became the first Woman who received theater award from 7th Lee Hae-rang Theatre Award, one of the major theater awards in Korea.^[1] She also holds the distinction of being the only actress to have won the Best Actress award three times at the Dong-A Theatre Award. In 1971, she received the award for her portrayal of Ondal's mother in "Where and How Shall We Meet?" (7th edition). Then, in 1986, she won for her performances as the second wife in "The Egg" and the aunt in "A Country as Far as the Sky" (22nd edition). In 1987, she secured the award once again for her role as Monique in "Women in Crisis" (23rd edition). Among these works, she played the lead role solely in "Women in Crisis," while in the other two productions, she acted in supporting roles.^[2]

Quick Facts Born, Other names ...

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Park's talent as a film actress has garnered significant recognition. In 1975, she was honored with the Grand Bell Awards for Best Supporting Actress for her role in director Kim Ki-young's "The Promise of the Flesh." She achieved the same feat once again in 1985 for her performance in director Jeong Jin-woo's "The MA-NIM." In addition to these accolades, Park has showcased her acting skills in other notable films such as "Growing Generously," "Anemone," and "Widow's Dance."^[3]

Since its establishment in 2005, she has served as chairman of the board of directors of the Korea Activist Welfare Foundation and has been supporting medical and living expenses for theater practitioners.^[2] In 2007, Park was awarded the 2007 Bogwan Order of Cultural Merit (South Korea) by the government.^[4] In 2008, She has been granted membership in the National Academy of Arts of Korea.^[5]

Park Jeong-ja, the youngest of five children, was born on March 12, 1942, in Sorae Port, Namdong-gu, Incheon, during the Japanese colonial period. Her father was a native of Incheon, while her mother originated from Ganghwa Island.^[6] Her Japanese name was Masako (正子). Her father selected Chinese character "Baaljeong (正)" as the middle character for her name. Reflecting on her name, Park later commented, "It is uncommon for a woman's name to include the character 'Baaljeong.' However, I believe that 'brightness' has been a guiding force in my life, bringing me to where I am today."^[3]

Living in Seaside Town during her childhood, she was surrounded by salt farms and narrow-gauge trains. Her father ran a brewery wholesale business called Cheonil Sanghoe in Sorae Port and also served as the village head. Her family, moved to Sinheung-dong, Incheon in the wake of liberation in 1945. They moved into Jeoksan House, where Japanese people used to live. However, in the same year, her father was ill and passed away. After her father's death, Park Jeong-ja's family packs their bags and heads to Yongsan, Seoul. Her mother opens a textile factory in her newly settled city and struggles to support her five children.^[6]

It was in Seoul, Park first encountered the world of theater. In April 1950, there was a theater called Bumin-gwan, located in what is now the Seoul City Hall. It was there that she witnessed the play "Wonsullang." She was able to watch plays at the theater thanks to her older brother, Park Sang-ho, who worked as a research student at Shinhyup Theater Company. In that era, television was non-existent, and radios were only found in one out of every ten households, making it a tremendous privilege to have the opportunity to attend the theater and experience a live performance.^[7]

I saw my first play when I was nine years old (Korean Age). In April 1950, before the June 25 Incident occurred, at the theater now called Bumin-gwan. My brother appeared in a minor role in 'Wonsulang' written and directed by Yoo Chi-jin [ko] (柳致眞, 1905-1974). I was ecstatic. Even now, I still remember that scene. Kim Dong-hoon (金東勳) plays the lead role of Won-sullang, Kim Seon-yeong (金仙英) plays Jin Dal-rae, the girl who follows Won-sullang, and Baek Seong-hee (白星姬) plays the princess who is Won-sullang's fiancée. Kim Sun-young was a North Korean actress during the June 25 Uprising. She was short, had a sonorous voice, and was an impressively tall actress.^[8]

Following the outbreak of the Korean War on June 25, her older brother fled to Daegu with Shinhyup Theater Company. He enlisted locally, and went to consolation performances as a member of the military art corps. Her mother took her four young daughters to seek refuge in her hometown, Ganghwa Island. After the retreat on January 4, 1951, her family relocated once again, this time to Jeju Island. Park distinctly recalls embarking on a US military ship, the LST, from Wolmido to Jeju Island. During their stay, her mother would frequently travel between Jeju, Daegu and Mokpo, buying and selling various goods to make a living. These memories have led Park to consider Jongdal-ri, Gujwa-eup, Jeju, also as her hometown. In the future, she will occasionally visit to reminisce about those days, especially when she misses her mother.^[3]^[7]^[8]^[9]

After three years of war, an armistice was finally declared, and Park's family returned home to Incheon. She transferred to the 4th grade at Parkmun Elementary School and continued her education in her hometown until the beginning of the 6th grade. During her time at Parkmun Elementary School, there was only one class per grade, and all the students were female. The school was situated within Dapdong Cathedral, which meant that she spent a significant amount of time in the church's front yard. She also appeared in a Sunday school play. She couldn't help but wonder why this fun thing was only done once a year on Christmas.^[3]^[8]

Upon returning to Seoul, Park engaged in various activities during her middle and high school years at Jinmyeong Girls' Middle and High School. She participated in oratory, choir, and Korean dance. The stage became her calling, and she fearlessly embraced every opportunity to perform, showcasing her talent and dedication.^[3]

During her university entrance exam preparations, a Theater and Film Department was established at Chung-Ang University. However, Park didn't feel inclined to apply. Instead, she unexpectedly chose to pursue Journalism in the Department of Journalism at Ewha Womans University. Initially, during her freshman year, Park intentionally avoided involvement in theater, considering her previous experiences sufficient. She held reservations about university theater, perceiving it as somewhat juvenile and uninteresting. As a result, she didn't audition or consider participating. However, by her sophomore year, the irresistible pull of theater became too strong to resist.^[3]

In 1962, during her second year as a journalism student, Park auditioned for Jean Racine's Phèdre produced by The Ewha Womans University College of Liberal Arts Theater Department (이화여대 문리대 연극부). Despite being confident that she would secure the lead role of Phaedra, she was instead cast as Panov, a maid with only 16 lines of dialogue. When she took the stage, she became stiff and made a mistake towards the end, leading to a scolding from the director. These experiences served as humbling moments for her.^[10]

Starting from 1962, Park actively participated in three plays throughout her university years. The following year, she performed The House of Bernarda Alba directed by Heo Gyu (許珪, 1934-2000). She received rave reviews for her role as an old woman in her 80s. There was even a comment that 'college plays threaten established plays.'^[11] The experiences laid a solid foundation for her career, thanks to the unique nature of The Ewha Womans University College of Liberal Arts Theater Department (이화여대 문리대 연극부). It went beyond being a typical theater club or a departmental project; it embodied the concept of a "college of arts play." The performances took place at prestigious venues such as the Drama Center and Myeongdong Art Theater, rather than the university auditorium. Renowned professional directors provided guidance for the productions, resulting in significant acclaim.^[10]

Park's passion for acting motivated her to pursue a career in voice acting, especially considering that television was not yet widely accessible, making radio the primary form of entertainment at the time. In 1963, while in her third year of university, Dong-A Broadcasting was established and announced open recruitment for voice actors. Despite the fierce competition, with approximately 150 applicants for each available position, Park decided to apply. She successfully passed the first, second, and third rounds of exams. However, a dilemma arose as her university had a prohibition on students appearing in broadcasts. Park found herself faced with an important decision and ultimately chose to drop out.^[7]

During her time as a voice actor, Park had the opportunity to work alongside her classmates and other theater actors who also ventured into voice acting on the radio, such as Sami-ja, Jeon Won-ju, and Kim Moo-saeng. She also collaborated with theater actors like Jang Min-ho and Na Ok-ju. This experience allowed her to further develop her skills as a theater actor, including improving her pronunciation abilities.^[7]

Upon the request of the university's president, Kim Gap-soon (1914-2005), Park still practiced theater with students after work and perform on stage. In 1964, they staged the play Blood Wedding by Federico García Lorca at the National Theater of Korea in Myeongdong. It was during this time that she met the director Kim Jeong-ok, who later became her lifelong theater companion.^[12]^[11] Kim Jeong-ok was a renowned director from the Minjung Theater. In addition to teaching and directing at The Ewha Womans University College of Liberal Arts Theater Department (이화여대 문리대 연극부), he also held a professorship in Theater and Film Studies at Chung-Ang University.^[13]

Early career as member of Jayu Theater

In 1966, Kim Jeong-ok and Lee Byung-bok established Jayu Theater, inviting actors from the "Minjung Theater" such as Na Ok-ju, Kim Hye-ja, Ham Hyun-jin, and Choi Sang-hyun as founding members. Na Ok-ju recommended Park to join. Park agreed and very happy to be able to work in the same trope with Kim Jeong-ok. Subsequently, the company expanded its roster to include actors Kim Yong-rim, Yoon So-jung, Kim Gwan-soo, Choi Bul-am, Moon Oh-jang, and even film director Kim Hong-sik.^[13]

In March 1966, they gathered at a famous restaurant called "Hyangwon" in Jingogae. After the founding meeting, with Teacher Lee Byung-bok as the representative, Jayu Theater was officially declared on April 29. Jayu's first performance was a play called "The Feast of the Followers" by Italian playwright Eduardo De Filippo (original title: Poverty and Nobility). It was a farce about poor servants disguising themselves as nobles. At Kim Jeong-ok's suggestion, Jayu Theater initially planned to stage Friedrich Dürrenmatt's The Physicists. However, due to its difficulty and philosophical nature, they changed the play to "The Feast of the Followers." With the performance date approaching in less than a month, they felt the pressure and urgency to prepare. They practiced tirelessly, using Lee Byung-bok's reception room in Jangchung-dong as their rehearsal space. Despite the challenging start, the performance was well-received, particularly for the actors' exceptional acting skills. This successful production marked the beginning of Jayu Theater's journey.^[13]

Like the saying 'There must be a small hill for a cow,' I, too, had a definite small hill in my life. Established in June 1966, the theater company called "Jayu" (Freedom) has one of the longest histories in the Korean theater industry. To me, Jayu was not just a simple hill, but a place that felt like home. Jayu was the starting point where I, Park Jeong-ja, an aspiring actress, could have the space and time to become a star in the theater world.^[13]

During her time with Jayu, Park had the privilege of participating in remarkable productions such as "The Feast of the Followers," "The Diver Ashore," "Murder Fantasy," "Marius," "The Medal of the Dead," "Song of the Sad Cafe," "Confessions for a Black Prostitute," "Where and What Will We Become?," "Couple Practice," and approximately 30 other works.^[7]

After standing on stage with Jayu for years, there are works where evaluations of the productions intertwine with Park's personal history. One such work is "Where and How Shall We Meet?" written by Choi In-hoon and directed by Kim Jeong-ok. In the original production at Myeongdong National Theater in 1970, as well as in the revivals in 1974 and 1986, Park Jeong-ja portrayed the role of "On Dal's Mother." Throughout the play, she remained silent until her son, On Dal, died in battle and her daughter-in-law, Princess Pyeonggang, lost her life opposing the rival political faction. Then, she was left alone on stage, delivering a soliloquy in solitude, saying, "Is it snowing...? Why is he so late?"^[13] It was during this production in 1970 that Park received her first Dong-A Theatre Award.

During the 1974 performance, Park took to the stage with a full-term pregnancy. In the early part of the play, when she had to lie down on the floor upon meeting the princess, she had concerns that the fetus might pop out through her mouth. It was a performance where the baby moved so much that she worried about such an occurrence. In the dressing room, she lay down, gasping for breath, and barely made it onto the stage, enduring each day of the performance.^[13]

Park had an opportunity to reprise her role as Mother in play Blood Wedding by Federico García Lorca during an outdoor performance at the Malaga International Theatre Festival in Spain, which was the hometown of the playwright. The audience was enthralled even without translation. Local newspapers titled their articles, "Lorca was not betrayed." In response to the evaluation that the actress who played the role of the mother was a world-class performer, the excited interpreter relayed Kim Jeong-ok's words, softly but earnestly, "Park Jeong-ja is already a world-class actress. Her fame has simply not reached Spain yet."^[8]

Works with Sanullim Theater

Park first work with director Lim Young-woong CEO of Sanullim Theater, was play in 'A Country As Far As the Sky'. She acted alongside Jeon Jeon-song, Joo Ho-seong, Jo Myeong-nam and Baek Seong-hee.^[14] In January 1986, Park won her second Dong-A Theatre Award for her performance.^[15]

In 1986, Lim Young-woong was planning to perform Korean adaptations of Simone de Beauvoir's play "Women in Crisis" to commemorate the first anniversary of Sanullim Theater opening. As CEO Lim Young-woong sought a suitable actress for the female lead, he asked Park for recommendations. Park suggested actors Kim Hye-ja and Kim Min-ja, but unfortunately, they were both too busy at the time. In the end, Park recommended herself. However, CEO Lim Young-woong initially rejected the idea, expecting a more renowned actress for the role, which deeply wounded Park's pride. Eventually, CEO Lim Young-woong approached her and handed her the script, suggesting that she join the production.^[11]^[16]

The play turned out to be a success. From the first performance for VIPs on March 30, the response was unusual. Lee Byeong-bok, CEO of Jayu Theater Company, said to director Lim Young-woong, "Thank you for making Park Jeong-ja a woman," and from the next day, housewife audiences flocked to Sanullim Small Theater like a tide. The audience was indignant in real time at the lines spoken by Cho Myeong-nam, who played her husband, and when Park Jeong-ja complained, the housewives sobbed. The article was so popular that it appeared in the social section rather than the cultural section.^[8]^[17]

Park Jeong-ja described it as a work that drew a tremendous audience and marked a significant moment in Korean theater.^[11] Through role Monique, Park garnered prestigious accolades including the Dong-A Theatre Award, Baeksang Arts Award, and Seoul Drama Critics Group Award. This remarkable achievement solidified her status as a triple crown winner in the theater industry.^[18]

However, that particular year happened to coincide with the 20th anniversary of the Jayu Theater Company. Coincidentally, the play chosen to commemorate the occasion was "Where and How Shall We Meet?" based on Choi In-hoon's acclaimed work, which held significant importance for the Jayu Theater. The relationship between two great masters of the Korean theater world, Kim Jeong-ok and Lim Young-woong, was strained because neither of them wanted to give up on Park Jeong-ja. Park revealed that the clash between the two directors made her feel trapped in the middle, making it the most challenging moment in her career.^[8]^[11]

Throughout the summer, "Woman in Crisis" drew packed audiences every day. It had been a long time since such an unprecedented hit had emerged, and the leading actress found herself torn between two extremes, contemplating whether to step down. After many twist and turn, Park Jeong-ja once again took on the role of Ondal's mother. "Woman in Crisis" continued its performances with a change in its lead actress. Kim Jeong-ok, who had not even made eye contact with Park Jeong-ja, resolved the conflict after her first performance by saying, "As expected, you shine on stage."^[8]

In 1990, Park had remarkable moment in her acting career. It was during the performance of Marsha Norman's play 'night, Mother. Park portrayed the role of a mother desperately trying to dissuade her daughter from taking her own life. The play reached its climax in the final conversation between the mother and daughter, where the daughter ominously hinted at her intentions. The daughter retreated to her room, armed with a pistol, and locked the door. In front of the locked door, Park's character alternated between soothing her daughter, pleading with her, shouting at her, venting her anger, and ultimately collapsing in despair when the gunshots rang out. It was a haunting monologue that traversed a wide spectrum of emotions and showcased the diverse personalities of the characters in just over a minute. Such a performance is a testament to Park Jeong-ja's unique unparalleled talent.^[8]

Park won Grand prize and Best Actress Award in 8th Baeksang Arts Awards for her performance in play 'night, Mother.^[19] When asked about this exceptional performance, Park Jeong-ja humbly responds, "That's high praise. However, I have no plans to revisit play 'night, Mother. I don't believe I can surpass what I accomplished back then. Nevertheless, there are a few other works that offer similar depth and challenges."^[8]

In 1991, Park worked again with Sanullim Theater with the play 'Mom Discovered the Sea at Fifty,' It was performed for almost a year and attracted more than 50,000 audiences, and set a record of winning four categories including Best Picture, Best Actor, Best Director, and Best Translation in the free entry section of the Seoul Theater Festival.^[20]

In that same year, The "Flower Bouquet Society," was established, starting with 17 people who love Park Jeong-ja's branded plays such as "Mom Discovered the Sea at Fifty" and "Woman in Crisis," The 12 members already form a group as early as 1987. The name "Flower Bouquet" was chosen by the members, symbolizing the desire to spread the subtle and long-lasting fragrance of culture, like the scent of dried flowers in a bag. Members of the Flower Bouquet Society pay an entrance fee of one million won and purchase four theater tickets per person whenever Park Jeong-ja has a performance. Attending the performances is mandatory. The entrance fees paid by the members are used for the Flower Bouquet Society's activities or donated to other organizations under the name of the society.^[21]^[22]

In 1992, Sanullim Theater relocated to Dongsung-dong, as the current small theater in Unni-dong had to be closed in line with the Seoul Metropolitan Government's initiative to restore Daewongun's private residence. After the theater moved to its new location, a performance of their popular experimental repertoire, Agnes of God, was staged in April to celebrate the opening. Park played the role of the head nun, while Son Sook portrayed Dr. Livingstone. Shin Ae-ra and Jung Soo-young alternated in playing the character of Agnes.^[23]^[24]

In 2003, Park took on the role of Maude in 2nd encore performance of "19 and 80." The play was originally titled Harold and Maude, written by Colin Higgins, and premiered in Korea in 1987, featuring Kim Hye-ja and Kim Joo-seung. The story revolves around Maude, an eccentric, adorable grandmother who, even at the age of 80, refuses to let go of her dream of becoming an astronaut. She meets Harold, a 19-year-old young man, who offers her wisdom and love, helping her find her own strength. It was directed by Jang Doo-yi.^[25]

Park performed in "19 and 80" five times, in 2003, 2004, 2006, 2008, and 2012, each time with different co-stars. In 2008 version, the play was adapted into a musical. Park personally taking charge as a producer for all five productions.^[12]

In May 2005, the Theater People's Welfare Foundation was established, with Park assuming the role of its inaugural president. The is to support the stability of actors' lives in retirement and scholarship programs for their children.^[9] Initially hesitant about creating an organization for the theater, Park was eventually persuaded by her colleagues. Park also believed that she had benefited greatly from theater and should contribute back to the theater community.^[26]^[27]

Park Jeong-ja's path crossed with her future husband thanks to her friend Lee Ji-seon, a reporter of Women Donga. Lee Ji-seon enlisted Park's help to put on a consolation performance for a military unit in Gangwon Province where her brother, Lieutenant Lee Ji-song, was stationed. During Lieutenant Lee Ji-song's break from duty, Park and Lee Ji-seon met to discuss the upcoming performance. Alongside their colleagues Choo Song-woong and Ham Hyun-jin, member of the theater group Jayu, they passionately planned and performed the play "Friendship." Their collaboration and shared experiences forged a deep bond, and Park and Lieutenant Lee Ji-song began their relationship.^[8]^[10]

The couple faced opposition from both families due to the four-year age gap between Park and Lee. Lee's mother, in particular, strongly objected to their relationship. She was worried about Lee's career choice of transitioning from interior design to the advertising industry, and she believed that his decision was solely motivated by his desire to marry Park. This intensified her concerns about the perceived instability of his profession. Despite facing opposition from their families, Park and Lee remained steadfast and ultimately tied the knot in 1972 when Park was 30 years old and Lee was 26 years old. Throughout their marriage, they had a son and a daughter.^[10]

In 1973, after graduating from the Department of Western Painting at Hongik University, director Lee Ji-song entered the advertising industry. He worked as a commercial director at Manbosa, Yonhap Advertising, Sejong Culture, and Cheil Worldwide. Bravocon and Young Age were among the companies he worked for. He was known for creating successful commercials of the time, including Ghana Chocolate.^[10]