Interviewer: Deena Jasmine (Chikkmagaluru, Karnataka, India)
Editor: Prachi Vaid (Delhi, India)
Meet Ryu Se-il, a South Korean actor whose work spans theatre, film and television. With a background in theatre, Ryu Se-il has explored characters and stories throughout his career. Ryu Se-il is also the co‑founder and executive director of Gongnori Club (공놀이클럽), also known as Ballplayclub, a theatre company Ryu Se-il created with director Kang Hoon‑gu in 2018.
Ryu Se-il’s work in “Dried Chili Peppers and a Peach‑Scented Lipstick” received recognition at the 61st Baeksang Arts Awards, where the production won the Young Play Award. He has also reached a wider audience with Boy, With Caution (소년 주의), in which he plays Jang Gi‑woo. In this conversation with Hallyusim, Ryu Se-il talks about his journey into acting and his experiences in theatre. What it feels like to bring different characters to life.
To begin, we would love to know how you first got into acting. What drew you to it? When did you realise you wanted to pursue it professionally?
I started acting after graduating from high school. At the time, I went to Japan to live with my father, who was working there. However, due to visa issues, I had to return to Korea. Looking back, it was probably a rather impulsive decision, but back then, I felt as though my life had fallen apart. I had always enjoyed watching films in cinemas, and around that time, I happened to watch Miloš Forman’s “One Flew Over the Cuckoo’s Nest.” The way the character refuses to give in to adversity and pursues happiness on his own terms, with a sense of freedom and defiance, felt completely opposite to the way I was living. I think I had been running away, feeling pessimistic without even really trying to do anything.
Then a question suddenly came to me: If I became an actor, could I become someone like that, too? That question was where my interest in acting began. After that, I attended acting academies and classes, and I failed my university entrance exams. I eventually managed to get into a university, but I dropped out after a year. I spent my time working part-time jobs and looking around for places where I could continue acting. That was how I spent my life from the age of twenty to twenty-six. Of course, I also completed my military service during that time.
Throughout your journey so far, what has been one of the biggest challenges you’ve faced as an actor, and what helped you overcome it?
In my twenties, the biggest challenge was probably trying to make a living while continuing to act. I worked all kinds of part-time jobs and used the money I earned to pay for acting classes and private lessons. I really wanted to become a good actor and do good work. At the same time, I couldn’t spend too much time working, either. I was earning money so that I could act, and I didn’t want to end up in a situation where I was too busy making money to actually pursue acting. I think I was always struggling financially.
But when I look back, I realize that I had good friends and seniors who often treated me to delicious meals along the way. Thanks to them, I think I managed to stay pretty well nourished. I’m grateful for that. Looking back, though, I think the hardest part wasn’t the financial struggle itself. It was the overwhelming uncertainty of wondering, What if I work this hard and still never become an actor? Perhaps I sometimes avoided reality because I didn’t want to face that fear. But as time went by, I began to feel more strongly that there was no point in worrying so much. Instead of spending time worrying, I thought, let’s just do something. Let’s simply exist. I think those thoughts gradually accumulated and helped me become more willing to take risks and throw myself into things these days.
Looking back, is there a moment from your days in acting that still holds a special place in your heart?
Looking back, one of my most memorable experiences was founding our theatre company with a group of colleagues I happened to meet in 2017 and putting on our first productions together. We started with practically nothing. I had never formally studied theatre, and I had no idea how to run a theatre company. Acting was all I really knew how to do, so I relied on the skills and abilities of my fellow members to help us secure government funding and stage our productions.
From that point on, I think we approached making theatre quite aggressively, learning everything through trial and error. Looking back, I sometimes feel that same recklessness has stayed with me. We started without knowing much of anything, but we had people who wanted to work together and stories we wanted to tell. The fact that we have continued this journey to the present day is
something very special to me.
As a co‑founder of Ballplayclub (공놀이클럽), what inspired you to start this theatre collective? How has being involved shaped your path as an artist?
I once met a friend by chance at an event. A few months later, he called me and asked if I wanted to work with him on a piece he was developing. I happened to be between jobs at the time, so I readily agreed. That was the beginning of Gongnori Club. The friends I worked with back then are still part of the original group today. Of course, we needed people to work with, but we also shared a similar sense of humor. I admired the way each of them saw the world and the sensibilities they brought to it. I don’t usually compliment my friends very often, so this feels a little embarrassing to say. (Laughs)
When we decided to establish the theatre company and were choosing a name, Kang Hoongu, our artistic director, suggested “Gongnori Club.” He said the name was inspired by the poem Gongnori by poet Lee Geun-hwa. We gathered at a friend’s house and read the poem aloud together, and that was how the company officially began. Nearly ten years have passed. In some ways, I think we’re people who see one another more often and know more about one another than we do our own families. Naturally, that also means we’ve had plenty of arguments. Even so, we have always been sincere in the way we approach our work. We challenged one another’s sensibilities, and I loved being able to grow alongside people like that. I still think they’re wonderful. Although, of course, there are times when they’re not so wonderful. (Laughs)
As both an actor and a theatre‑maker, has your understanding of storytelling changed over the years? Is there something you value deeply in a performance now that you did when you first began?
At first, I focused mainly on portraying the character I was playing as well as I could. Over time, I became interested in the role that character plays within the larger work and in the questions the work explores through that character. Rather than judging a character too quickly or defining them by a single personality trait, I try to understand why they make the choices they do. Sometimes people don’t fully understand themselves, and they may act against what they believe is right. These days, I think it’s just as important for a performance to leave questions in the audience’s minds after it ends as it is to communicate clear answers. Of course, I also think the experience needs to be engaging. I often wonder what kind of pleasure or experience a story can offer its audience. Even now, I don’t think I have a clear answer to that. (Laughs)
You’ve spent a lot of time working in theatre. What do you enjoy most about performing on stage? How has that experience shaped you as an actor?
At first, I simply wanted to act, and I found my way onto the stage almost by chance. But now, I feel that it is becoming increasingly difficult to explain who I am without theatre and performance. Theatre has become a language through which I can communicate with people in new ways. These days, I find it difficult to talk about myself without referring to theatre or screen acting. Theatre has become such a fundamental part of who I am. I wish everyone could experience being on stage at least once.
To embody a character’s words and actions with your own body, in front of other people, is a genuinely frightening and exhilarating experience. It brings up so many complicated emotions. Becoming a professional actor is another matter entirely, of course. But I believe the stage is a place where a different kind of time emerges, one that is distinct from everyday life.
Your work in “Dried Chili Peppers and a Peach‑Scented Lipstick” received recognition at the 61st Baeksang Arts Awards. How did it feel to see the production receive that recognition, and what did it mean to you personally?
The Baeksang Arts Awards keep the winners’ identities strictly confidential. I was enjoying the ceremony without expecting anything at all when I noticed the camera getting ready to focus on our group. That was when I started to suspect something. Could we be the ones receiving the award? We had started this project with our fellow members without knowing much of anything, so reaching the point of winning a Baeksang Arts Award together felt incredibly special.
We had spent a long time creating this production and performed it for audiences in different regions. Throughout that journey, we accumulated the time, thoughts, and concerns of so many people, along with memories that are difficult to put into words. I believe the award was meaningful for everyone who helped create the work. I was deeply grateful that a project we had devoted so much time to could reach a wider audience and receive that kind of recognition.
You’ve worked in theatre, film, and television. How has each experience influenced you as an actor? Is there a particular medium you enjoy most?
Theatre, film, and television all involve portraying characters, but I think the ways we approach those characters differ. In theatre, you sustain a character’s life over an extended period, responding directly to your fellow actors and the audience. In front of a camera, even the smallest shift in your gaze or facial expression can become important, and you also have to consider how a scene will be filmed and edited. I don’t think one medium is necessarily better than another. What interests me is that each medium demands a different kind of sensitivity from an actor. Whatever the medium, I believe the most important thing is to understand the character thoroughly and exist truthfully within the circumstances they find themselves in.
In Boy, With Caution (소년 주의), you play Jang Gi‑woo. What attracted you to this character? What about his story made you want to be involved?
At first, I was a little surprised to receive an offer from a project outside the theatre world where I had primarily worked. But after meeting with the production team and reading the script, I found that I really liked the story. I also liked Gi-woo as a character. Rather than expressing his energy outwardly, he was someone who needed to hold a great deal of it within himself. Gi-woo is a character who asks himself many questions, but he doesn’t seem to have clear answers to them. He knows what is right, yet he still wavers. There are moments when he isn’t even entirely honest with himself. I wanted to follow those questions alongside him. Rather than trying to explain Gi-woo or arrive at a definitive understanding of him, I think I wanted to accompany him through the struggles he experiences.
When you were preparing for the role of Jang Gi‑woo, how did you dive into understanding him? Did you find anything surprising about the character as you got deeper into the role?
First of all, I keep reading the script. I examine the meanings of individual words and sentences, and I write down the images and information they bring to mind. When reading a script, I try not to decide too quickly what kind of person a character is. Instead, I begin by thinking about the circumstances they’re in and why they behave the way they do. I also look for elements of Gi-woo within myself and try to expand on them. The word that stayed with me when I first encountered Gi-woo was “outsider.” I was curious not only about how he related to the people around him, but also about the distance he seemed to maintain from himself.
The important thing in understanding Gi-woo wasn’t to make him a consistent person. It was to accept the hesitation and contradictions within him without trying to eliminate them. People don’t always act according to what they believe, and they don’t always fully understand themselves, either. Even now, I don’t think I can say that I fully understand Gi-woo. I can only do my best to keep looking at him with an open mind. And I’m willing to continue accompanying him on that journey.
What was it like working with Ha Jeong‑hoon on Boy, With Caution (소년 주의)? Was there anything about your collaboration that particularly stood out to you?
There wasn’t much time between the casting confirmation and the start of filming, so the director, Jeong-hoon, and I met separately to read through the script together. We didn’t have a great deal of time to spend together, but we tried to build as much rapport as possible within the time we had. Jeong-hoon was diligent, hardworking, and polite. I appreciated how seriously he approached his scenes on set and how much effort he put into them. I think working together allowed me to receive some good energy from him, too.
Coming from a theatre background, how was your experience working on Boy, With Caution? Was there anything about playing Gi‑woo that felt new or different for you as an actor?
I believe that everything I’ve experienced throughout my life, not just my work in theatre, contributes to my acting. Gi-woo, in particular, was a character who held a great deal of energy inside rather than expressing his emotions outwardly. The physical training and concentration exercises I had practiced in theatre were therefore very helpful. To express a character’s state through subtle muscle movements or breathing, you need to be able to use your body with great sensitivity. I think the physical training I had done through theatre helped me a lot in that respect.
As more viewers discover your work through Boys, With Caution (소년 주의), what do you hope they take away from Gi‑woo’s story? Is there something about him you’d especially like them to remember?
How viewers remember Gi-woo will probably differ depending on their own experiences and perspectives. I don’t think he necessarily needs to be understood or judged in any particular way. I would be happiest if viewers could look at his circumstances and the choices he makes from their own perspectives and take away an interpretation of their own. And if even one small part of that experience could have a positive influence on someone’s life, that would mean more to me than I could express.
When approaching a character, how do you balance your own interpretation with what the story, the writer and director want to tell?
I first try to understand the world established by the script and the relationships between its characters as objectively as possible. A character doesn’t exist in isolation; their meaning emerges through their relationships with other characters, the progression of events, and the context of the work as a whole. Within that framework, I gradually develop my own questions and interpretations as an actor. I don’t think respecting the story created by the writer and director is incompatible with having your own interpretation. In fact, I believe that a deeper understanding of the work’s context allows you to develop a more specific interpretation of the character.
Of course, our interpretations don’t always align from the beginning. When that happens, we exchange ideas and work together to discover what choices are most appropriate for the character and the scene. I think of this process as a kind of research before filming. It’s about exploring the possibilities available within a character and a scene. But once I get on set, I try to follow my instincts instead. I trust that the research I’ve done is already within me, so I focus on the sensations of the moment and remain open to whatever happens. At the same time, I remain receptive to the director’s guidance on set. I try to find a balance between what I’ve prepared in advance and what emerges spontaneously in the moment.
Looking forward, are there any projects you’re especially excited about or any new roles or creative directions you’re hoping to explore?
I want to continue encountering characters for whom I cannot easily find answers. I’m especially interested in people who struggle with their choices in situations where good and evil, or right and wrong, cannot be clearly separated. I also want to continue creating stories and bringing them to the stage with other people through my theatre company, alongside my work as an actor. I’d like to remain open to new mediums and different ways of working, too. Rather than limiting myself to a particular type of role, I want to keep seeking out projects that allow me to encounter people and worlds I don’t yet fully understand.
Finally, is there a message you’d like to share with your fans and Hallyuism readers in India who may be discovering your work for the first time?
Thank you to everyone who is discovering my work for the first time. Although we live in different cultures and speak different languages, I think there is something truly special about being able to look into someone else’s life and share emotions through stories. The characters I portray may not mean the same thing to everyone, but I would be happy if even one of them could leave a small question in your heart or an emotion that stays with you long after the story ends. I will continue doing my best to meet you through good stories and memorable characters. Thank you, sincerely for your interest and support.
Once again, we would like to express our heartfelt gratitude for your precious time and for sharing insights about your journey. Thank you so much. On behalf of the entire team at Hallyuism, we wish you all the best for your future projects and lots of love from India!
We hope you all loved reading this interview as much as we loved conducting it. Let us know your thoughts in the comments!
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Ryu Se-il is such a talented artist! There's something really special about people who can express so much through their acting, especially in theatre, where every emotion feels so real. Wishing him more recognition and success in his journey!