Dramatic Life [Lee Dae-han's Romantic Research]

The author reflects on the performative nature of life, drawing a parallel between human existence and acting on a stage. He recalls a vivid childhood memory of participating in a school play, an early experience that sparked a lifelong fascination with theater and the concept of embodying different roles.

“

I am now playing the role of a professor on the stage of the school, the role of a researcher on the stage of academic conferences, and the role of a husband and father when I return home.

His journey through academia and into his current role as a professor has further solidified this perspective. He describes how, even in the structured environment of military training, he found himself observing his fellow trainees as actors playing the role of 'recruits.' This realization led him to frequently contemplate the dramatic dimensions of life.

“

Life is essentially no different from a play; this does not mean life is superficial or passive. Rather, I believe this dramatic dimension of life forms the core of 'humanity.'

The author posits that life is not inherently superficial or passive due to its performative aspect. Instead, he believes this 'dramatic dimension' is central to human nature. Humans are capable of more than just reacting to stimuli; they can actively assign themselves new roles and strive to embody them effectively. The dreams and aspirations humans pursue are, in essence, the 'acting' out of imagined futures, gradually bringing them into reality.

“

Real acting is not acting.

He suggests that the pursuit of a singular, essential self can be a distraction. Instead, embracing the heterogeneity of one's roles, as a professor, researcher, husband, father, son, constitutes a more practical and fulfilling approach to life. By choosing to 'act' well in these various roles, one becomes a better person. The author concludes by referencing actor Choi Min-soo's advice: true acting is not acting at all, implying that the most authentic performance is one that becomes indistinguishable from reality, where 'acting' leads to 'being.'

“

The real play is indistinguishable from real life. In other words, the completion of acting is 'being.'