Performances

” It doesn’t matter where you come from or what language you speak. We are all equal as human beings. We deserve to be happy and laugh every day, without language barriers.”

The Charming JAY “TRICK OR TREAT !!”

Unexpected blunders provoke roars of laughter! The mischievous magician, the charming Jay, captivates audiences with his delightful humor!

Charming Jay’s magic doesn’t always go perfectly. Each time he takes the stage, he scrambles to recover from his mistakes, drawing laughter from the audience in the process. While outwardly aiming to be a cool, flawless magician, his clumsiness and comical antics actually foster empathy and connection with the audience.

This performance unfolds without words, relying solely on movement and gesture. Jay, possessing the charm of a silent film star, completes the show through interaction with the audience. Whether the magic succeeds or fails, what matters isn’t perfection, but the genuine laughter and human connection that blossom during the process.

From preparation to conclusion, the audience becomes protagonists in the story, not mere spectators. The improvisational, delightful episodes created through audience participation form the core of the performance, weaving a new narrative. This work transcends language and cultural barriers to share universal human emotions, offering a unique experience that reveals the essence of communication.

Why I made and kept doing this show?

When I just moved to UK (in 2014), I felt quite uncomfortable when I was watching shows, because of the language but I don’t think it’s the only problem for me, so from that moment on, I tried to make a silent show, without language, age, skin color… Also, to emphasize to feel when we enjoy something, Instead of thinking too much about it.

Creative Intent

Language transcends being a mere tool for communication; it is a core means of expression for identity, resonating with specific peoples and cultures. Yet language barriers have often divided us and drawn boundaries. This work carries the meaning of sharing universal human emotions, transcending differences in language, race, and culture.

When watching films or performances, our gaze is often fixed on subtitles, preventing us from fully experiencing the actors’ performances and emotions. This suggests that the essence of communication lies not in language, but in universal human emotion. Therefore, this work seeks to freely share human emotion by transcending the limitations of language through communication composed of gestures, expressions, and actions.

Through moments of genuine humanity and laughter that blossom not from perfection but from mistakes, the audience experiences the dissolution of boundaries between stage and auditorium. This performance lies not in the technique of communication, but in rediscovering the humanistic value of sharing human emotion and the process of co-creating a story with the audience.

Synopsis

The South Korean magician JAY.P slips into the role of the charming Jay – a character who likes classic magic and eccentric jazz. He is a meek magician with extraordinary ability. But every time he tries to perform a trick, he fails. If he then tries to cover up his mistake, another nonsense happens to him. Especially when there is a large audience around its stage. On closer inspection, the audience realizes that this is not a casual magician, but rather a clown who seems to have sprung from the silent film era. 

This performance is not mere magic. ‘TRICK OR TREAT’ is the life story of an artist, told through The Charming JAY’s unexpected blunders, laughter, and human connection.

References

Beginning with classical magic, I studied comedy and clown performance through workshops and direction from Latin (Spanish, Latin American) artists at drama schools in London, England. Furthermore, grounded in Jacques Lecoq’s mime technique, I trained for two years at Berlin’s Contemporary Centre (Art House Berlin), researching bodily movement and expression. Additionally, I analysed and practised various silent films (Charlie Chaplin, Buster Keaton, Jacques Tati, Laurel and Hardy, Jerry Lewis, the Marx Brothers, etc.) to analyse and practise, researching and developing acting and movement suited to her, along with non-verbal expression.

What’s something we’re look forward to this show

Theoretically

1. Diversity

Obviously, this show is not related with any cultural background but it’s linked with a specific attitude that makes a small difference.
The Character behaves like a person who followed Asian’s cultural manner and ways of thinking. When the Character blended with the show concept, props and dress which do not belongs to Asian culture, it makes the audience feel that even if we are distinguishable by looks, we are all same as human race. Additionally it suggests an idea to audience about equality and diversity of the world.

2. Humanity

This performance transcends mere magic, encompassing dialogue through gestures and body language, physical comedy, and music. Our appearances are all different. Yet skin color, age, cultural background, or place of origin matter not. Because we are all human, “The Charming Jay” conveys to the audience the message that when we feel humanity together, we are all the same. Thus, throughout the performance, communication with the audience occurs without words, solely through body language, expressive gestures, and shared breathing.

Practically

1. Different Vibe of Shows (Day and Night)

Day time show is more focused on physical comedy and improvisation. We all laugh and wonder together in unpredictable situations. Sometimes it goes crazy, messing around like an old silent film. So the audience can feel a more cheerful and positive energy.
In opposite, at night time when the sky turns midnight blue color, “The Charming JAY” is on the mood of cozy and warm vibes.
It doesn’t belong to a high energy and grand finale like fire shows, for example, but for some people who would like to chill during their evening and to end the day with relaxation, “The Charming JAY” is the one who can give to audience a warm hug and a cozy smile. In the chill night with warm energy, like the night, we called it a day.

2. Measurement of audience

“The Charming JAY” Show doesn’t involved any dangerous props. It means that the measurement of the safety line is flexible. Also the performance routine depends on the distance between the performer and audience. Simply said, from the small crowd (10-20 people) to the Big crowd (over 300), it can all be handled by the situation and space.

3. Take it Seriously and responsible.

I performed over 10,000 times in European regions through approximately 60 festivals and also in the Covent garden in London, as a professional performer. During that time, I haven’t been involved in any accident or haven’t caused serious problems with audience.
I am always ready on the spot 2 hours before, checking the location, technical sides and finding the best way to deliver the show to audience.
Also even if I get injured during the show, I can still perform as sitting down or by slowing down the tempo of the show (excepting serious medical problems).

4. Flexibility and adaptability

Due to the much needed multi-tasking circumstance of festivals, I am flexible to follow possible reschedules and location changes by festival organization.
There’s no restriction to proceed with the performance, excepting heavy rain.
If it’s a heavy rainy day, the show can be moved to an inside location, and if it’s adaptable weather like a bit windy or short cut rain, my performance can be made under a big umbrella.