SEOUL, August 7 (AJU PRESS) - Unlike slapstick-based TV shows, which have dominated Korea's comedy scene for half a century, standup comedy is just beginning to gain traction. The slow development of standup gigs is primarily due to the genre's often taboo topics -- sex, drugs, racism, and religion -- in the conservative country often associated with Confucian values.
Danny Cho, a 42-year-old Korean-American comedian, is a key figure in Korea's emerging standup comedy scene, which mainly revolves around small comedy clubs and live music bars in Seoul. After his first gig in the U.S. in 2012, Cho was drawn to young Korean artists when he made Korea his base for Asian tours in 2017. Since then, Cho has nurtured them.
In an interview with Aju Press near central Seoul on Aug. 1, Cho described his early experiences with Korean standup beginners. "I was given an opportunity to perform at a comedy show and found that my techniques, despite my poor Korean language skills back then, actually worked. I realized I was the only one with the experience and skills to lead and teach Korean standup comedians," Cho said.
Cho emphasized that the core value of standup comedy is simple -- making people laugh. "Back then, Korean artists only focused on delivering sensitive content. They didn't care much about the technique of storytelling. They had little understanding of why and how the audience was laughing," Cho explained. "You don't have to do comedy for everyone. You only have to focus on entertaining people who understand and like your jokes."
Standup comedy topics in the U.S. are more naturally accepted by audiences who have been exposed to the genre since the 1880s. However, Korean audiences react differently. "I can see Korean audiences laughing inside, but they are afraid of how others may view them if they laugh aloud about sensitive topics," Cho said.
Cho acknowledged the cultural battle against conservative Confucian values. "People speak about all sorts of sensitive things when they are out with friends drinking, but when they watch the show as an audience, their reactions are not the same," he said.
In the U.S., audiences sometimes show violent reactions when a comedian isn't funny, sometimes throwing food and bottles onto the stage. In contrast, Korean audiences go silent when a joke falls flat. "People just stay still if they don't find the comedy funny," Cho noted.
Cho stresses the importance of communication and interaction between a standup comedian and the audience. "From my point of view, standup comedy is like having sex. If your partner shows good reactions, then you are willing to do more and better. If not, you just want to finish and go home. It is extremely hard to draw attention from a cold audience," Cho said.
However, Cho has observed an improvement in Korean audiences' acceptance of standup comedy and its sensitive topics. "I've been doing standups in Korea for about seven years now, and I can feel that the audience's mindset is more open than it was in the past. I think it will get better in the future," Cho said, adding that as the comedy scene grows in Korea, more artists will have the opportunity to make a living on stage.
"In the past, not many people understood my coaching on standup comedy. Now, I see some promising comedians who will succeed and make a lot of money. Those who have the passion and know how to give their 100 percent will definitely succeed."
Cho and his colleagues, under the management of Meta Comedy, an entertainment agency specializing in the management and incubation of comedians, are preparing for a significant event in Korea's standup history -- a two-day performance at the iconic Sejong Center for the Performing Arts on Aug. 15 and 16.
The performance, titled "Comedy Assemble," is part of Cho's plan to elevate standup comedy alongside other recognized pop art genres. "I do not mean to disrespect, but people recognize actors as artists, although they do not normally write their scripts themselves. However, we comedians write scripts and perform one-man shows on stage while also playing the role of producer for our gigs, but not many people recognize us as artists. Why?" Cho asked.
"It has not been too long in the U.S. for great standup artists to perform at iconic venues such as Carnegie Hall. It took us 10 years to stand at such a place. We will prepare for the event as we always have for performances at small comedy clubs," Cho said.
Cho hopes that in a few years, comedians will be able to perform at the Seoul Arts Center, a venue that typically hosts well-known classical artists. Rapper Psy, famous for "Gangnam Style," once expressed his desire to perform there but was rejected.
"I hope to perform at the Seoul Arts Center one day. That would definitely help break the wall and introduce different types of art to Korean people," Cho said.
Cho emphasized that the goal of every comedy gig is to make people laugh. To achieve this, he shares his own evolving story with the audience. "I want to share my experience of getting older with my audience. I wish to continue my story and share my perceptions as I age," Cho said.
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