Asia Culture Center - Performance

2024 ACC Asia Content Performance Development Showcase

Two performances that examine the relationships between objects and the times, and between objects and theater, under the theme of “genealogy of objects”: “Gwangju Flows Anywhere and Everywhere” and “Private Librarians”

DateNov. 15 (FRI), 2024
TimeGwangju Flows Anywhere and Everywhere 19:00
Private Librarians 20:00
PlaceACC Theater (Theater 1, Atelier 1)
Age LimitMust be 13 or older
Seating60 seats per session
Price Free
TicketWeb Page / Call Center / Ticket Booth
Contact+82-1899-5566
Running timeGwangju Flows Anywhere and Everywhere 40 min
Private Librarians 90 min
GenreGwangju Flows Anywhere and Everywhere: Experimental Theater
Private Librarians: Recital Play

Visitor Guide
Project Introduction
Gwangju Flows Anywhere and Everywhere
Private Librarians

Visitor Guide

No-show Booking restriction

If you fail to attend a booked free performance without canceling,
you deprive others of the opportunity to enjoy the show.

No-show occurrences exceeding twice a year will result in a 30-day booking restriction for free performances, effective from the date of the second no-show.

Suitable Viewing Age

Rating: 13 and up (those born in 2011 or earlier; middle schoolers and above)
Please make sure to bring a certificate or document that may prove your date of birth (e.g., Public Health Insurance Certificate, Resident Registration Certificate, Passport, Student Card, etc.).
※ Viewers under the age limit cannot enter the venue regardless of the ticket held or accompanied by a guardian
※ Cancelation, refund, or exchange is not available if the viewer fails to view the performance because of a misunderstanding of the age limitation.

Ticket Booking and Reception

There are two separate ticket reservations, one for “Gwangju Flows Anywhere and Everywhere” and “Private Librarians,” respectively.
Tickets are available for up to two tickets per person.
Tickets for “Gwangju Flows Anywhere and Everywhere” and “Private Librarians” can be claimed on the day of the performance starting at 18:00.
※ The reservation number of the booker’s mobile phone number must be checked before receiving the ticket
If you wish to purchase a wheelchair seat, please contact our Call Center (☏+82-1899-5566) to make a booking.
On-site ticket purchases are available an hour before the show; however, this is subject to ticket availability on the day of the performance.
※ Gwangju Flows Anywhere and Everywhere: 18:00
※ Private Librarians: 19:00

Viewing Information

National Asian Culture Center strictly restricts viewer rate, mid-performance entry, and photography for a pleasant viewing experience.
※ Viewers are responsible for failure to understand the entry regulations.
Audience entry for “Gwangju Flows Anywhere and Everywhere” begins 10 minutes before the start of the performance, and for “Private Librarians,” it is 20 minutes before the performance. Entry may be restricted after the performance begins.
These performances are free; therefore, parking benefits are not applicable.
※ Please note that photos and videos will be taken during the performance for archiving and promotional purposes. If you attend the performance, your image may appear in the recorded footage. We kindly ask for your understanding.

This performance does not provide designated seating because of its unique format.
Audiences will move around the theater following the staging of scenes.
Due to the nature of the performance, we recommend that individuals with mobility challenges reserve tickets and be accompanied by a companion who can assist them with movement.
These performances do not have designated wheelchair seatings, but individuals using wheelchairs are welcome to enjoy the performance freely.
These performances feature loud sounds and strobe effects as part of their production. Please take this into consideration when booking your tickets.

The seats for both sessions are unreserved, which means that visitors can freely choose their seats on a first-come, first-served basis.

Project Introduction

2024 ACC Asia Content Performance Development Showcase

The National Asian Culture Center (ACC)’s Asia Content Performance Development Project seeks to reflect on contemporary Asian phenomena through Asian thought. Each year, it selects the “theme of the year” and produces two performances with two directors. Through two different perspectives on a single theme, the project seeks to achieve a deeper, multileveled understanding of the cities we live in.
The theme for 2024 is “genealogy of objects,” inspired by Michel Foucault’s idea of genealogy. A “genealogy of objects” is intended to go beyond a simple, temporal description of the origins of objects and their evolution to subvert the definitions assigned to objects, critique the ideas deemed to be universal, and open new spaces for new imagination in their gaps. Furthermore, it seeks to go beyond the categories of objects as props for storytelling onstage to investigate the relationships between objects and play, objects and the stage, and objects and narratives.

This project was undertaken by director Zuckgeuk, who oriented himself toward nonfunctional theater and experiments on the theatrical format, and Kang Hyunju, who developed realist narratives and stages based on detailed and genuine research. As representatives of two polar extremes in the art of theater, the two directors will deliver a rich and varied experience for the audience members through their explorations of the “genealogy of objects.”
The two showcases will give creators the opportunity to deepen their themes and explore the theater space before the actual production. During this process, each director will examine their concept, organization, and script, and receive audience and expert feedback to lay the groundwork for their work.

Gwangju Flows Anywhere and Everywhere

Date and TimeNov. 15 (FRI), 2024, 19:00
VenueACC Theater 1
TargetMust be 13 or older
Runtime40 min
GenreExperimental Theater

This is a project by director Zuckgeuk, whose life’s work is centered around a single body of work under the [Dappertutto Studio] series. “Dappertutto” is an Italian word for “flowing anywhere,” and each work chooses a specific place for guidance. As the name suggests, “Gwangju Flows Anywhere and Everywhere” aims to integrate the opposing factors into one.
The performance uses the seven days of Genesis and the seven days of Revelations in the Bible to establish a sense of order in the work and create a framework for telling the story of May 1980 in Gwangju—the time and space when the “unity of opposites” was realized, as the weakest and lowest members of society produced the greatest spirit of the age.
The work questions the relationship between Gwangju and the ACC Theater, objects and performers, and stage and audience. The theater presents to the audience objects that are empty in meaning and have been transformed into various forms, and the audience is tasked to become a subject of writing new histories through their assignment of personal meanings and interpretation of these objects.

Scene Composition

The showcase first shares the three scenes of Genesis. It is intended as spatial research into the ways and forms of coexistence between the structures created by Dappertutto Studio and the ACC Theater stage environment and how that can generate meaning from the audience’s perspective.
3rd Day: Let there be earth and vegetation.
4th Day: Let there be the Sun, the Moon, and the stars.
5th Day: Let there be birds and fish.

Direction: Zuckgeuk

: Zuckgeuk is a director with the Dappertutto Studio.
His life’s work is to direct the series [Dappertutto Studio] as one “that becomes a single performance.” The term “Dappertutto” is an Italian word for “flowing anywhere,” referring to placelessness in his work, while the “studio” part of the name refers to the site-specific nature of the piece. As such, through its name, “Dappertutto Studio” announces its dedication to “capturing paradoxical things in one gaze (unity of opposites).”

Director’s Statement +

1. What are you exploring in this showcase as part of your creation process?
I want to center efforts toward object and movement research and share the results with the audience.
2. What stories and themes are you preparing?
Genesis is the work of God; naming is the work of humanity. There is no “meaning” in nature. Humans are the only beings who think about, remember, and record what they see. I hope to test how the stage can be set closer to a depiction of nature filled with “life” rather than what can be called “meaning,” and how the audience area can create stories that fill in the “history” and “meaning” in such context. By removing dialogues, I hope to avoid expressing fixed meanings as much as possible and present nature and earthly events through objects and movements using the theater’s physical characteristics, with the caveat that the interpretations of objects and movements in the scene be reminiscent of historical facts related to Gwangju.
3. What was the intent behind your decision to take the creation narrative in the Book of Genesis to your performance in terms of form and content?
An alchemist is someone who repeats the creative acts of gods on their own level. I think that this is also a relevant definition of a contemporary artist. Works created by Dappertutto Studio are devoid of fragmented human dialogues, aiming for microbial movement within and around the boundaries of objects. The performers do not use objects to perform but rather read the movement inherent in the objects themselves and create movement by combining with the objects in the process of assisting their physical motion. I would like to make these material objects breathe onstage first and then bring out the meaning thereafter, but I came to the thought that a narrative that can unite the diversity of material objects already exists as public goods, such as the seven days of creation and the seven days of apocalypse in the Bible.
4. What does the Gwangju performance represent in the Dappertutto Studio series?
The term “Dappertutto” from Dappertutto Studio means “flowing anywhere” and placelessness, while “Studio” refers to the site-specific characteristics of the performance venue, Gwangju. Just as the name suggests, the work is set against the worldview of an alchemist, which can be summarized as “capturing paradoxical things in one gaze (unity of opposites).” Gwangju can be thought of as a city reborn through the revolutionary character of its people. People are beings of the lowest status yet so sacred and, at the same time, the only beings that exist above the state. It is, in that sense, a unity of opposites. As a creator, I thought that it was impossible to empathize with unfathomable historical suffering, and I’ve avoided engaging with it because I felt that it warranted sensitivity. I no longer want to put that off any longer, so I want to approach it as a performance suitable for the ACC Theater 1 space, starting with this research.
5. What does “genealogy of objects” mean in the context of this work?
I wanted to make a piece centered on objects and movement without dialogue. In that sense, choosing specific objects and tracing the rationale behind prejudices present challenges in a performance without spoken lines. In addition, looking at the empty stage of the charming Theater 1, I wanted to work with events and objects on a global scale that are approached from the perspective of nonhuman and microbial beings. Another thing—“Asia,” which is included in the theater’s name, seemed to be a keyword that transcends Gwangju, but it also feels like a limitation. In an era where global events such as the climate crisis have become part of our daily lives, I wondered if macro-level events could give us a chance to overcome our preconceived notions of “Asia.”
A stationary object is actually in constant motion within itself, and this micromobility within such a space has the power to dehumanize the object and create a distancing effect. Viewers who look at macro-level events and micro-level mechanisms of movement will create their own meanings within them, eventually producing a human-scale story of the present that is neither macroscopic nor microscopic.

Performers

Sangsoe (Lead Kkwaenggwari Player) Kim Bok-man
Pungmul Jeollanamdo Provincial Institute for Korean Traditional Performing Arts Samul Team
Chang Dong-jun, Song Byeong-gwan, Jeong Dong-chan, Oh Ju-seok, Kim Jong-pil, Oh Yeong-gi, Baek Min-su, Lee Sang-won, Seo Gwang-sik
Performance Kim Yong-bin, Im Yeong, Choi Do-hyeok

Crew

Concept, Direction, Stage DesignZuckgeuk
Stage Design, Production DirectorKim Geon-tae
Assistant Stage DesignYoon Jae-hee
MusicRémi Klemensiewicz
Light DesignPark Hyeon-jeong
Lighting OperationYoo Joo-hyeong
Costumewhenyousmile
Stage DirectorBaek Yong-min (ACC)
Lighting DirectorIm Hye-yeong (ACC)
Sound DirectorNa Inkwon (ACC)

Private Librarians

Date and TimeNov. 15 (FRI), 2024, 20:00
VenueACC Theater Atelier 1
TargetMust be 13 or older
Runtime90 min
GenreRecital Play

This theater drama is set in a public library threatened by a flood. It depicts the process of restoration in which the library recovers its original state after experiencing flood damage and the restoration of the individual in facing one’s old demons as one finds oneself in an unfamiliar situation set in a familiar space.
“Private Librarians” explores the flow and changes of the times through the utilization and the value of the “library” and the “book.” Libraries are spaces where new books capturing new thoughts flow endlessly, but they are also places where the thoughts of previous ages gather and remain. In such a setting, the director asks questions about whether there can be unchanging values and how different times and the zeitgeist can coexist.
This work is an attempt by the director to establish her own system based on a research-based work style. This showcase, which will take the form of a traditional recital, will examine whether the story she has prepared will be delivered well to the audience members and what audiovisual forms will be suitable for the main performance.

Synopsis

Here is a public library in a large city in Korea housed in a building that was once a school.
The library staff includes Jae-seon, the Director of the Humanities, Social Sciences, and Natural Sciences Section; Si-yeon, a rookie librarian in her first year; Jeong-yoon, tasked with book acquisition; Dae-yeong, who is responsible for organizing the shelves; and Chang-hyeon, a social service personnel assigned to the library. One summer day, a record rainstorm hits the city, but it seems that the library will survive the storm with only some trivial leakage on the resource room ceiling. The librarians wait for the users to arrive, organizing the new arrivals and selecting the books for reservation.
Si-yeon arrives at work late in the morning, immediately heading to the storage section to fetch a book that she could not find the day before, which forces a visitor to return the day after. As Si-yeon steps into the storage section, water rushes in, submerging the entire storage section.
The library decides to close temporarily, and all staff members gather around the storage to save the books and discuss how to restore them.

Direction: Kang Hyunju

ⓒ Doosan Art Center: Kang Hyunju works with research-based theater dramas.
She observes people who work quietly without raising a fuss or drawing attention to themselves, healing the wounds life gives them without complaint and bravely moving forward. Her works are based on her belief and hope for their restorative power.
She wrote and directed “A Case of Faulty Growth” and directed “The Great Passage” and “Stir-Fried Vienna Sausage and Vegetables.”

Director’s Statement +

1. What are you exploring in this showcase as part of your creation process?
This showcase takes the form of a recital to see whether the story we have prepared will be delivered well to the audience. I also think of it as an opportunity to explore the audiovisual methods we can use to realize the narrative in the main performance.
2. What stories and themes are you preparing? When and how did you discover the setting (library and librarians)?
Generally speaking, I have two stories I want to tell here: restoration and the times.
The story depicts the process of restoration in which the library recovers its original state after experiencing flood damage and the restoration of an individual facing one’s old demons as one finds oneself in an unfamiliar situation set in a familiar space. Furthermore, it is a story about reading through the times of the past and the present in that process of restoration.
I once saw an article about “guerilla librarians” who borrow books from storage archives to prevent them from being discarded. This caught my attention as it reminded me of the idea of “dead languages” that I previously encountered in the play “The Great Passage,” which was set in a dictionary editorial office. It is natural for things without utility to disappear, but I cannot help but feel bad about the fact that that also holds true for not only objects and formless systems but also people.
Another thing I noticed was that the way the books in the library struggle to find their place on the bookshelves, embodying the values of each time, was reminiscent of how people from different generations live in the same age. The library was a place that showed today’s thoughts in a single glance.
3. What does “genealogy of objects” mean in the context of this work?
The subject of this work—library books—could be understood as a tool for reading the times, as they reflect the current and potential needs of society members. The process in which a limited number of books take up and lose a limited amount of space in the library was also reminiscent of the changing society through successive generations. In this work, observing and tracking objects (i.e., libraries and books) can be said to be a process of understanding what constitutes myself at the present and the things surrounding me. By understanding what caused the current state of things, I think we can break down the solid illusions of doubt and fear.
4. What new attempts are you making in this work compared to your past works?
Generally speaking, I had two tasks in mind with this work.
The first was to establish a system of work based on research, given that this is the second creative piece I have engaged with. The second has to do with the fact that I have mostly worked with small theaters until now. I had to think about the size of the ACC Theater for this work. That, for me, was a challenge in itself. I believe that everything that constitutes space in a performance must have significance and use beyond a simple backdrop, and even if there are no stylistic changes, I wanted to construct a place and events suitable for a black box theater.
5. Do you have any tips for potential audience members or things you want to say?
I hope they can discover the private moments that emerge from seeing a familiar library and the librarians in an unfamiliar situation and time.
Perhaps this work can be described as an apology for passive resistance from generally passive people. I believe that passive resistance from those who may be described as passive but refuse to ignore the things they see, feel, and realize also has power.
If one musters courage only to find that it has brought misfortune, one cannot help but change toward passivity. However, people show courage in different ways in their lives. I hope that my support for people living with their own bravery can be conveyed in this work.

Performers

Jae-seonPark Su-yeong
Si-yeonJang Ho-in
Jeong-yoonSon Ji-yoon
Dae-yeongJeong Won-jo
Chang-hyeonHwang Sang-gyeong
Ji-munKim Han-deul

Crew

Writer and Director Kang Hyunju
Assistant ProducerChoi Seo-woo
Light DesignJung Yuseok
Assistant Lighting DesignJung Woo-won
MusicOmbre
Video DesignJung Hye-ji, Jung Kyung-eun
Stage DirectorIm Ji-eun (ACC)
Lighting DirectorLee Seong-ho (ACC)
Sound DirectorKim Ju-hee (ACC)

Special Thanks To

Seoul Metropolitan Office of Education Namsan LibraryPark Jung-ah, Jang Yoon-mi, Baek Jin-ju
National Library of KoreaLee Ok-ju, Jang Eun-ju

list

할인 및 면제

엑트페스티벌 할인정보를 할인대상, 할인율로 나타낸 표
할인대상	할인율
직원할인	50%
단체할인	(20명 이상) 25%
사전예매	20%

※ 일반 티켓 주차권 미포함

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할인 및 면제

일반 할인정보를 구분, 할인대상, 할인률로 나타낸 표
구분	할인대상		할인율
문화체육관광부 할인정책	문화패스 ※ 어린이문화원/문화창조원 할인제외		50%
	문화누리카드		50%
	예술인 패스 (※ 카드 미수령시 카드 신청내역으로 확인가능 )		50%
단체할인	10인 이상의 단체(유료입장 10명 이상)		20%
경로할인	만 65세 이상자(본인)		50%
문화 복지 할인	장애인 (복지카드 소지자 1인 2매까지)		50%
문화 복지 할인	국가유공자 (유공자증 및 유공자 유족증 소지자 1인 2매까지)		50%
전당 특별 할인	전당 릴레이	전당 유료티켓 소지자(1인 2매/관람 전일부터 6개월이내)	20%

※ 중복 할인은 불가합니다.

※ 티켓 수령 시 할인 관련 증빙자료를 지참하셔야 하며, 미지참시 차액을 지불하셔야 합니다.

할인 및 면제

공연용 할인정보를 구분, 종류, 할인대상, 할인율로 나타낸 표
구분	종류	할인대상	할인율
문화체육관광부	문화가 있는 날	(매달 마지막 주 수요일) 어린이문화원, 문화창조원 유료전시 입장객	50%
	문화패스	만7세~만24세 ※ 어린이문화원(공연, 체험관 등)은 문화패스 적용 불가	50%
	예술인패스	예술인 본인 (예술인패스 또는 카드신청내역)	50%
	문화누리카드	문화누리카드 결제자(매수제한 없음) ※ 문화누리카드 할인은 현장예매, 콜센터 예매를 통해서만 적용가능합니다.	50%
문화 복지 할인	경로할인	만 65세 이상 본인	50%
	장애인	복지카드 소지자(1인 2매까지)	50%
	국가유공자	유공자증 및 유공자 유족증 소지자(1인 2매까지)	50%
	의사상자	의상자증 및 의사자 유족증 소지자 (1인2매까지)	50%
단체	단체할인	10인 이상	20%
특별 할인	ACC 릴레이 티켓	전당 유료티켓 소지자(1인 2매/관람 전일부터 6개월이내)	20%

※ 티켓 권종별 할인과 할인 쿠폰의 중복 할인은 불가합니다.

※ 증빙자료는 현장 발권 또는 입장 시 제시해 주셔야 하며 미지참 시 할인적용이 불가(차액 지불)합니다.

할인 및 면제

어린이공연 할인정보를 구분, 종류, 할인대상, 할인율로 나타낸 표
구분	종류	할인대상	할인율
문화체육관광부	문화누리카드	문화누리카드 결제자(매수 제한 없음) ※ 본 할인은 현장예매, 콜센터 예매를 통해서만 적용가능	50%
문화체육관광부	예술인패스	예술인 본인 (예술인패스 또는 카드신청내역)	50%
문화 복지 할인	경로할인	만 65세 이상 본인	50%
	국가유공자	유공자증 및 유공자 소지자(1인 2매까지)	50%
	의사상자	의상자증 및 의사자 소지자(1인 2매까지)	50%
	장애인	복지카드 소지자(1인 2매까지) ※ 단, 휠체어석 예매는 현장예매, 콜센터 예매를 통해서만 적용가능	50%
단체	단체할인	10인 이상의 단체	20%
전당 특별 할인	ACC 릴레이 티켓	전당 유료티켓 소지자(1인 2매/관람 전일부터 6개월 이내)	20%

※ 티켓 권종별 중복 할인은 불가합니다.

※ 티켓 수령 시 할인 관련 증빙자료를 지참하셔야 하며, 미지참시 차액을 지불하셔야 합니다.

할인 및 면제

문화창조원 할인정보를 구분, 할인대상, 할인율로 나타낸 표
구분	할인대상		할인율
문화체육관광부 할인정책	예술인패스 (※ 카드 미수령시 카드 신청내역으로 확인가능 )		50%
	문화누리카드		50%
	문화패스 (만7세~만24세) ※ 어린이문화원(공연, 체험관 등)은 문화패스 적용 불가		50%
단체할인	10인 이상의 단체(유료입장 10명 이상)		20%
경로할인	만 65세 이상자(본인)		50%
문화 복지 할인	장애인 (복지카드 소지자 1인 2매까지)		50%
문화 복지 할인	국가유공자 (유공자증 및 유공자 유족증 소지자 1인 2매까지)		50%
전당 특별 할인	전당 릴레이	전당 유료티켓 소지자(1인 2매/관람 전일부터 6개월이내)	20%
2019 가을여행 및 미술주간 할인	할인기간	2019.9.12 - 2019.10.9	50%

※ 중복 할인은 불가합니다.

※ 티켓 수령 시 할인 관련 증빙자료를 지참하셔야 하며, 미지참시 차액을 지불하셔야 합니다.

※ 만 5세이하 보호자동반 시 무료(증빙지참)

할인 및 면제

어린이체험관 할인정보를 구분, 할인종류, 할인율로 나타낸 표
구분	할인종류	할인율
문화체육관광부 할인정책	문화누리카드	50%
	예술인패스(본인만)	50%
	문화가 있는 날 (매달 마지막 주 수요일)	50%
경로할인	경로할인(신분증, 본인만)	50%
복지 할인	장애인(복지카드, 동반 1인까지)	50%
복지 할인	국가유공자 (유공자증, 동반 1인까지)	50%
특별할인	전당 릴레이(전당 유료티켓 소지자, 1인 2매/관람 전일부터 6개월이내)	20%
단체할인	10인 이상	20%
단체할인	20인 이상(만 4세 이상 14세 미만은 성인 인솔자 2인 무료)	40%

※ 중복 할인은 불가합니다.

※ 티켓 수령 시 할인 관련 증빙자료를 지참하셔야 하며, 미지참시 차액을 지불하셔야 합니다.

할인 및 면제

공연용 할인정보를 구분, 종류, 할인대상, 할인율로 나타낸 표
구분	종류	할인대상	할인율
문화체육관광부	문화가 있는 날	(매달 마지막 주 수요일) 어린이문화원, 문화창조원 유료전시 입장객	50%
	문화패스	만7세~만24세 ※ 어린이문화원(공연, 체험관 등)은 문화패스 적용 불가	50%
	예술인패스	예술인 본인 (예술인패스 또는 카드신청내역)	50%
	문화누리카드	문화누리카드 결제자(매수제한 없음) ※ 문화누리카드 할인은 현장예매, 콜센터 예매를 통해서만 적용가능합니다.	50%
문화 복지 할인	경로할인	만 65세 이상 본인	50%
	장애인	복지카드 소지자(1인 2매까지)	50%
	국가유공자	유공자증 및 유공자 유족증 소지자(1인 2매까지)	50%
	의사상자	의상자증 및 의사자 유족증 소지자 (1인2매까지)	50%
단체	단체할인	10인 이상	20%
특별 할인	ACC 릴레이 티켓	전당 유료티켓 소지자(1인 2매/관람 전일부터 6개월이내)	20%
특별 할인	ACC 프렌즈	ACC 협약기관 임직원 할인 (1인2매) * 티켓수령시 명함 또는 사원증 제시(ACC 창·제작공연에 한함)	30%

※ 티켓 권종별 할인과 할인 쿠폰의 중복 할인은 불가합니다.

※ 증빙자료는 현장 발권 또는 입장 시 제시해 주셔야 하며 미지참 시 할인적용이 불가(차액 지불)합니다.

할인 및 면제

재단용 할인정보를 구분, 종류, 할인대상, 할인율로 나타낸 표
구분	종류	할인대상	할인율
문화체육관광부	문화가 있는 날	(매달 마지막 주 수요일) 어린이문화원, 문화창조원 유료전시 입장객	50%
	문화패스	만7세~만24세 ※ 어린이문화원(공연, 체험관 등)은 문화패스 적용 불가	50%
	예술인패스	예술인 본인 (예술인패스 또는 카드신청내역)	50%
	문화누리카드	문화누리카드 결제자(매수제한 없음) ※ 문화누리카드 할인은 현장예매, 콜센터 예매를 통해서만 적용가능합니다.	50%
문화 복지 할인	경로할인	만 65세 이상 본인	50%
	장애인	복지카드 소지자(1인 2매까지)	50%
	국가유공자	유공자증 및 유공자 유족증 소지자(1인 2매까지)	50%
	의사상자	의상자증 및 의사자 유족증 소지자 (1인2매까지)	50%
단체	단체할인	10인 이상	20%
특별 할인	ACC 릴레이 티켓	전당 유료티켓 소지자(1인 2매/관람 전일부터 6개월이내)	20%
기타 할인	병역 명문가 할인	병역 명문가증 소지자(1인 2매) *재단 공연에 한함	10%

※ 티켓 권종별 할인과 할인 쿠폰의 중복 할인은 불가합니다.

※ 증빙자료는 현장 발권 또는 입장 시 제시해 주셔야 하며 미지참 시 할인적용이 불가(차액 지불)합니다.

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