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cleekleequlee · 1 year ago

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When we talk about change...

(An english version can be found after the Chinese... Notion helped me with translation and I corrected a few places too.)

在昨天Dorst的keynote speech裡，Dorst用哥白尼提出日心說（as in Copernican Turn)來舉例變革之難。哥白尼的理��得以被大眾接受，卻是得益於“拜日教”的Kepler出於信仰的研究。在評論這種“三觀不合但的確有用”的幫忙時，Dorst說了下面這句整個speech裡面讓我印象最深的一段話。

“If it works, it works. Doesn’t matter why people actually make the jump, as long as they make the jump. The good design always gets what are people actually thinking now, how can you understand that and how can you help them make that jump to think about these things.”

這種實用性體現在Dorst演講和點評的方方面面。比如他提到荷蘭項目中非常複雜的nature vs. farming的尖銳矛盾，以及在空間、社會、政治上多層次的複雜性。這樣的問題如何給出“解決方案”？Prof Dorst給出的答案是在矛盾各方的價值層面尋找共同點，最後落在一個詞“Vitality”上，然後圍繞這個詞建立”學習循環“ learning cycle, 看起來更像是一個institutionalised action research mechanism，把professional world和society通過doing and reflection連接起來。這能解決政府提出的nature vs. farming的問題嗎？未必。但這個過程同時也會提供更多對這個問題的理解、讓決策者自主發現問題的不切實際、或者提供更多的frame問題的方式。

從某個角度來說，Dorst還沒出版的新書的題目Creating space for deep change，跟我的human nature encounter是有一點相似的。有contact zone，才有機會暴露系統之間不同的邏輯和假設。這些假設不僅是看待和理解（make sense）世界不同的方式，他們也在這個世界以某種方式共存。就好像農業耕作以及架構其上的農民的時間分配、村莊的娛樂活動與祭祀、供應鏈的活躍程度及匹配，都會與這個時間線所匹配（coupling），不同價值的理解並不是要尋求consensus甚至homogentization，而是在boundary的negotiation和translation（這一點又想起了Anna Tsing在mushroom和friction兩本書裡精彩的詮釋）。

對這個講座的欣賞，很多可能來自於很少會有人這麼深入理解變革的難度，各個機構和系統從政府公司到自然界不同的時間維度，人行為和思維模式改變的不受控性和非理性。從某個角度說，“解決問題”本身常常可能是一種不切實際的期望。紙面上的解決方式，“因為”-“所以”不難做到。但現實生活常常在看不到的地方要麼打臉，要麼以其他看不到的方式展現，導致更大的不公。

如果用兩個詞總結Dorst的中心思想，我會說是halfway（借用Barad的Meeting the universe halfway)和condition.

Halfway代表的是不同角度之間的common ground，好像boundary object這個概念一樣，能夠讓不同的人哪怕以不同的詮釋都能夠找到感興趣的角度並展開討論。在farming的案例裡，vitality這個詞在雙方之間構建了基本的信任。能夠找到這個halfway point並把它用“誘人的”方式呈現出來，是需要對雙方深入的理解和一點天份的。這並不只是創造一個buzz word，而是能夠獲得雙方信任、開啟對話的基礎。在反思我自己的研究的時候，覺得雖然做了很多思考，但在這個“向下”或者向外延伸的動作還是做的遠遠不夠。if it works, it works。任何好的intention都需要解決現實的問題和關注才能被接受，在學術界也是一樣的道理。

而condition，更像是一種允許兩種系統展開長期structural coupling的架構，可能是某種流程和循環（比如前面講到的learning cycle，或者某種committee；以及Dorst對於設計學院“Lab-Academy-Podium-Temple“的設想），物理的空間，多元化、藝術化的形式(比如他提到了一個項目利用theatre作為雙方溝通的方式)，也可能是跨越系統的個體(比如在nature vs farming的項目中，他們挖掘了幾個從非務農進入農業的個體案例；在演講裡也用到了Amar Bose貫通學術和實踐/商業的案例）。

但最後我還是有幾個待解決的疑問，有待繼續思考和探索

關於theory和practice的關係，決定了學院的基本定位。（在這裏深深的感受到古典哲學底子太差）如果考慮可能的幾個選項，選項A：transcendental，理論才是世界的實質 (abstract but true) （哲學家）選項B：representational，理論是世界的抽象模型幫助我們解釋和理解（科學家）選項C：理論和實踐是平等的對話夥伴，intellectual和practical/material各司其職，互相交流。現實為理論添磚加瓦甚至更迭朝代（Thomas Kuhn），而理論為現實提供想像和可能性。提出reflexive methodology的mat alvesson一定屬於C，但更偏重於前一半即現實對理論的challenge與創新貢獻。而Dorst的想法似乎更偏向後者，即理論為現實提供想像和可能性，這些可能性的實驗會引導現實提出新的問題。

當我們講到theory的時候，我們到底在說什麼theory？是科學理論(基於empiricism，但也有對世界的物化及objectivity等各種假設），還是humanities的理論，他們所基於的假設又是什麼？這一點似乎在討論相關問題時引起相當大的誤會。

我自己研究方向，在好幾個Dorst提到的framework中都可以找到自己的位置。比如

在他提出的Academic discussion <→ model <→ practice中，我自己應該也是在從academic discussion發現想法，構建model，供practitioner用新的方式去實踐（這個實踐者是誰在我的情況下也需要仔細考慮，是entrepreneur, CEO還是designer)

在deframe-framing experiment - strategic intervention/the studio的流程中，可以看做我是在deframe and reframe sustainability，然後通過experiment的方式提議新的intervention。如果從這個角度往下想，下一步的intervention不能只停留在walk，而要把movement、process的概念放入其他設計中，比如spatial design，sound design，interaction design，graphic design，或者甚至可以重新想像sustainability的項目，以不同的視角會怎樣？這個方面需要再看一些more than human design的具體內容。

講座後的Critic幫助我理出了在現在這個階段我對研究最簡短的總結，也就是multiplicity of nature, and the non-linear consequences of this understanding in living and organizing. Professor McWhinnie所謂的clarity。但每次達到這樣的clarity又會有一種自我懷疑——這是不是太簡單了？以及在這個簡短介紹中，我關於practice在change project中的��要性似乎又被淡化甚至排除了。。。

During yesterday's keynote speech by Dorst, he used the example of Copernicus proposing the heliocentric theory to illustrate the difficulty of change. The acceptance of Copernicus' theory by the public was thanks to Kepler's research out of faith in "Sun Worship". When commenting on this kind of "disagreeable but indeed useful" help, Dorst said the following sentence in his speech that impressed me the most.

"If it works, it works. Doesn’t matter why people actually make the jump, as long as they make the jump. Good design always gets what people are actually thinking now, how can you understand that and how can you help them make that jump to think about these things.”

This practicality is reflected in every aspect of Dorst's speech and comments. For example, he mentioned the very complex “nature vs. farming” issue in the Dutch project, as well as the multi-layered complexity in physical space, society, and politics. How to give a "solution" to such a problem? Prof Dorst's answer is to find common ground in the values of the conflicting parties, finally falling on the word "Vitality", and then building a "learning cycle" around this word, which looks more like an institutionalised action research mechanism, connecting the professional world and society through doing and reflection. Can this solve the nature vs. farming problem proposed by the government? Not necessarily. But this process will also provide more details and nuanced understanding of this problem, allowing decision-makers to discover on their own the impracticality of the problem, or provide more ways to frame the problem.

From a certain perspective, the title of Dorst's unpublished new book, Creating Space for Deep Change, is somewhat similar to my human nature encounter. With contact zones, there is a chance to expose different logics and assumptions between systems. These assumptions are not only different ways of viewing and understanding (making sense) the world that abstractly and intellectually exist, they also co-exist - sharing the same time and space - in the world in some way. Just like seasons in nature corresponds to the time allocation of farmers, village recreational activities and rituals, as well as seasonality of supply chains, thinks in different worlds can adjust to match in their rhythms (coupling). The goal is not to seek consensus or even homogenization, but to facilitate in the boundary zone negotiation and adjustment, a work of translation (which reminds me of Anna Tsing's brilliant interpretation in the two books, mushroom and friction).

The appreciation for this lecture may come from the fact that few people understand the difficulty of change so deeply, the different time dimensions of various institutions and systems from government companies to nature, and the uncontrollability and irrationality of changes in human behavior and thinking patterns. From a certain perspective, "solving the problem" itself is often an unrealistic expectation. The solution on paper, from "facts" (as represented and reductive) to "therefore" (the implications and actions) is easy to achieve. But real life often slaps you in the face , backlases in unseen places, leading to greater injustice.

If I were to summarize Dorst's central idea in two words, I would say they are halfway (borrowing Barad's Meeting the universe halfway) and condition.

Halfway represents the common ground between different perspectives, like the concept of boundary object, which allows different people to find interesting perspectives and start discussions even with different interpretations. In the farming case, the word vitality builds basic trust between the two parties. Finding this halfway point, an intersection, requires carefully exploring the complexity of the problem, each party's standpoint and their multiplicity of each party (farmers are not only farmers, they are sons and daughters, fathers, hobbyists, etc...) and presenting it in an "enticing" way requires a deep understanding of both sides and a bit of genius. This is not just about creating a buzz word, but about gaining the trust of both sides and opening up the basis for dialogue. In reflecting on my own research, I feel that although I have done a lot of thinking, this "downward" or "outward" reach, extension of a two-way dialogue is far from enough. If it works, it works. Any good intention needs to solve real problems and concerns to be accepted, and the same holds in academia.

On the other hand, condition is more like a framework that allows two systems to carry out long-term structural coupling, it may be some process and cycle (such as the aforementioned learning cycle, or some committee; as well as Dorst's vision for the design academy "Lab-Academy-Podium-Temple"), physical space, diversified, artistic forms (for example, he mentioned a project using theatre as a way of communication between the two parties), or even individuals who cross systems (for example, in the nature vs farming project, they unearthed several individual cases of non-farming entry into agriculture; in the lecture, he also used Amar Bose's case of bridging academia and practice/business).

But in the end, I still have a few unresolved questions that need further thinking and exploration:

On the relationship between theory and practice, which determines the basic positioning of the academy. (I deeply feel that my classical philosophy foundation is too bad here) If we consider possible options, Option A: transcendental, theory is the essence of the world (abstract but true) (philosopher) Option B: representational, theory is an abstract model of the world to help us explain and understand (scientist) Option C: theory and practice are equal dialogue partners, intellectual and practical/material each have their own responsibilities, and they exchange with each other. Reality adds bricks and tiles to theory and even changes dynasties (Thomas Kuhn), and theory provides imagination and possibilities for reality. Matt Alvesson, who proposed a reflexive methodology, certainly belongs to C, but he emphasizes more the first half, that is, the challenge and innovative contribution from the empirical to the theory. Dorst's idea seems to lean more towards the latter, that is, theory provides imagination and possibilities for reality, and these possible experiments will guide reality to propose new questions to theory to solve.

When we talk about theory, what theory are we talking about? Is it scientific theory or humanities theory, and what are their assumptions? This seems to cause quite a bit of misunderstanding when discussing related issues.

Considering own research direction, I can find my own position in several frameworks mentioned by Dorst. For example,

In his model of university of Academic discussion <→ model <→ practice, my research seems to be also discovering ideas from academic discussion, building models, and providing practitioners with new ways to practice (who is this practitioner in my case also needs careful consideration, is it an entrepreneur, CEO or designer)

In the process of deframe-framing experiment - strategic intervention/the studio, it can be seen that I am deframing and reframing sustainability, and then proposing new interventions through experimental methods. If you think from this angle, the next step of intervention should not only stay on walking, but put the concept of movement, process into other designs, such as spatial design, sound design, interaction design, graphic design, or even can re-imagine sustainability projects, how would it be from different perspectives? This aspect needs to look at some more than human design specific content.

After the lecture, the Critic helped me sort out the shortest summary of my research at this stage, which is multiplicity of nature, and the non-linear consequences of this understanding in living and organizing. Professor McWhinnie's so-called clarity. But every time I reach such clarity, there is a sense of self-doubt - is this too simple? And in this brief introduction, my emphasis on practice in the change project seems to be diluted or even excluded..

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ryuisthereason-blog · 5 years ago

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【柳承龍】迄今為止從未有過這樣的演員，他是「職業人」呢還是「自然人」呢？【Ryu Seungryong】There has never been such an actor so far. Is he a professional actor or a nature-lover?

原文/Original Text: https://m.post.naver.com/viewer/postView.nhn?volumeNo=17815051&memberNo=10388754

新年快樂！今天我們帶來了超多久違的消息！

Happy New Year! Haven’t heard from us for a long time? Today we’ll bring you lots of information during this time!

太棒啦！

Awesome!

火遍各大影院的「極限職業」高班長。

Chief Go in Extreme Job has excited audiences in every cinema.

就算只是拿起電話也能讓人爆笑的高班長。

Chief Go can make you burst into laughter even just by picking up the phone.

迴蕩在數千萬觀眾耳邊的經典台詞：迄今為止從未有過這樣的味道，這是排骨呢還是炸雞呢？

The classic lines lingering in mind of tens of millions of viewers: There has never been such a taste so far. Is it pork ribs or fried chicken?

今天我們也來試著改寫一下這句已經被無數人模仿過的經典台詞：迄今為止從未有過這樣的演員，他是「職業人」呢還是「自然人」呢？

Today we also want to rewrite the classic lines that already have been adapted by countless people: There has never been such an actor so far. Is he a professional actor or a nature-lover?

在作品內外呈現出180度反轉魅力的柳承龍會讓您徹底淪陷。

Ryu Seungryong will make you fall in love with him through his completely different charisma in and out of his works.

【職業人，職業演員柳承龍】

【Ryu Seungryong as professional actor】

「四千萬演員」、「韓國首位喜劇電影雙千萬演員」……演員柳承龍被冠以各種頭銜。通過無數次地變換角色，他不斷扎實地完善著自己的作品世界。我們首先為您介紹的，是他在工作中閃耀的魅力。

“Forty Million Actor (means that he has starred in four films that have drawn over 10 million viewers each)”, “The first Korean actor who has starred in two comedy films that have drawn over 10 million viewers each” … Actor Ryu Seungryong was awarded various titles. By now he has played countless different roles, which contributed to the perfection of his “work world” solidly. Let’s take a look at his glamour at work firstly.

先來看看「極限職業」的製作發佈會現場。

This is the press conference of Extreme Job.

李炳憲導演曾說：「演員柳承龍就像是白菜道士和蘿蔔道士（指韓國動畫形象），有著驚人的才智，特別風趣幽默，能夠包容一切，真的很有道人的感覺。」

Director Lee Byunghun has said: “Actor Ryu Seungryong is like Cabbage Priest and Radish Priest (two images in a Korean animated drama). He’s really witty and humorous and can embrace everything.”

大家好，這裡是白菜道士和蘿蔔道士。

Hello everyone, I’m Cabbage Priest and Radish Priest.

從一開始就充滿歡樂能量的「極限職業」宣傳現場！

The promotion of Extreme Job was full of joy from the beginning!

在媒體試映會上首次與記者們見面，不免有些緊張。

He was a little nervous when he met reporters for the first time at the preview.

希望通過屏幕，原封不動地傳達自己在拍攝過程��感受到的幸福。在這個過程中，逐漸放鬆下來，找回了自信。

He wanted to convey all their happiness during the shooting of this film through the screen, which helped him relax and regain the confidence.

突然襲來的側顏殺。

His side face is gorgeous.

��下來是拍攝宣傳照的現場。

Now we should take photos for the promotion.

忠於影片概念的道具。#大蔥風格

Props loyal to the concept of this film. #Leek Swag

嗯……好像少了點什麼……

Let me see…It seems that something is missing…

……？

！！！！！

究竟為什麼白菜葉子從袖口出來了？

Why are the cabbages coming out of the sleeves?

就這樣完成的定妝照。厲害了……

A-Cut is finished in this way. Fantastic…

給柳承龍穿上這麼可愛的服裝的設計師在哪裡吖？

Where is the stylist who designed such a cute outfit for him?

請受我一拜！謝謝你喔！

Please accept my love! Thank you!

飾演「極限職業」中的可愛擔當宰勋的孔明和柳演員合拍了一張彩色大片。

孔明說明明明！（參見跑男，當時全昭旻即興創作了這首兩行詩，其中「明明明」與韓語中的��汪汪汪」發音相似，全昭旻藉此意指孔明的小奶狗氣質）

A colourful photo with Gong Myung, who played the lovely detective Jaehoon in Extreme Job.

Gong Myung said, Myung Myung Myung! (In Running Man Jeon Somin improvised this acrostic poetry. The pronunciation of “Myung” is similar to the pronunciation of “Meong”, which means “Woof” in Korean. Jeon indicated the cuteness of Gong Myung like a dog.)

接下來的拍攝主題是黑色西裝！

Now we come to the part of Black Suit!

戴上了黑色的墨鏡。

Black sunglasses.

還拎上了……菜籃子？

And…Shopping basket?

對彩椒特別感興趣……

Especially love paprika…

買個東西為什麼也搞這麼帥吶！

Why do you look so gorgeous when you’re just shopping?

「極限職業」小隊的假面照。以及：国民美食炸雞是在遇到了完美演員李荷妮之後才變得如此玲瓏可人。

Persona of Extreme Job Team. And: The national cuisine - fried chicken didn’t become so elegant until it met perfect actress Lee Hanee.

忙於採購的我們要一起去抓犯人了吧？

Now we should catch the criminal together since we’ve been busy shopping, right?

抓到了，就這張！

Got it, A-Cut!

抓到了，就是你！（此處借用了韓國警察吉祥物的經典台詞）

I got you! (The classic lines of the mascot of Korean police is parodied here.)

只要在一起就笑聲不斷的老鷹五兄妹的拍攝現場。

The set with Five Eagle Brothers and Sister is always full of joy.

吼吼~

Hee Hee~

演員柳承龍2019年1��的日程真是無縫銜接！

Actor Ryu Seungryong’s busy schedule for January 2019 is really “seamless”!

與「極限職業」同期上映的還有網飛原創影集「屍戰朝鮮」。

The original series Kingdom on Netflix was released at the same time as Extreme Job.

迄今為止從未有過這樣的活動，這是製作發佈會呢還是主題公園呢？僅從製作發佈會的規模就能感受到「屍戰朝鮮」的全球影響力！

There has never been such an event so far. Is it a press conference or a theme park? You can feel the popularity of this drama around the world just by the scale of this event!

柳承龍依舊游刃有餘。

But Ryu Seungryong was still at ease.

當晚舉辦的VIP紅毯首映禮。

VIP Preview - Red Carpet.

和「屍戰朝鮮」的主創人員們擺出各種造型。

Various poses of the cast and crew members of Kingdom.

提起粉絲福利，就會想到柳承龍。

When it comes to the kindness to fans, you’ll think of Ryu Seungryong.

提起柳承龍，就會想到粉絲福利。

When it comes to Ryu Seungryong, you’ll think of his kindness to fans.

這回是另一處拍攝現象。看著我們露出燦爛微笑的甜心。

Here is another set. The sweet heart who smiled brightly at us.

今天要拍攝「屍戰朝鮮」宣傳照。

Today we should take photos for the promotion of Kingdom.

真理般的黑白照。

A great black-and-white photo.

向工作人員發射微笑子彈！砰砰砰~

Smile bullets fired at the staff! Bang Bang Bang~

看看誰來了！

Who’s coming!

這不是最近的大勢演員朱智勛嗎！

The popular actor Ju Jihoon!

雖然兩人在劇中有著尖銳的矛盾，但這樣清新的化學反應真的好讚！

Although they’re in sharp contradiction with each other in drama, but the refreshing chemistry between them now is awesome!

致命的男人們！

These deadly charming men!

真的讓人無處可逃！

There’s nowhere to escape!

帥到沒朋友！

Too Handsome!

白色的龍龍固然帥炸天！

I know the white Ryong is extremely charming!

但是我們也不能放棄灰色的龍龍！

But we can’t give up the grey Ryong at the same time!

照片源自：網飛

source: Netflix

眼神一瞬間變得十分深沉。

His eyes became melancholy and meditative in a flash.

和世界級演員裴斗娜之間精彩的合作。

Wonderful cooperation with world-class actress Bae Doona.

兩位演員以不同的色彩極大地豐富了「屍戰朝鮮」。

They enriched Kingdom greatly with their different “colours”.

三位主演也愉快地合體！

Three actors came together happily!

完成了這場拍攝。

And finished all the photos.

到這裡，我們向您展示了柳承龍「職業人」的一面。作為一名職業演員，即使在辭舊迎新之際，也不忘努力工作。接下來，我們將向您展示柳承龍作為一名「自然人」的面貌。

This is the professional actor Ryu Seungryong. As a diligent actor, he always works hard, from the end of last year to the beginning of this year. Now you can see his image as a nature-lover.

【自然人，熱愛大自然的柳承龍】鏡頭之外的柳承龍的日常，總是和「路」、「木」、「林」這些字眼相伴。

【Ryu Seungryong as nature-lover】The daily life of Ryu Seungryong off camera can be described with the words “Road”, “Wood” and “Forest”.

柳承龍的大學同窗會定期策劃精彩的島上公演。今年夏天柳承龍也以工作人員的身份加入到了校友的行列中。

One of Ryu Seungryong’s alumni will plan for wonderful performances on island regularly. This summer Ryu Seungryong also joined in the activity as a staff member.

有時他擔任活動的攝影師。

Sometimes he works as a photographer.

有時他幫忙搬運活動道具。

Sometimes he helps carry the props.

什麼工作都能勝任的他可謂以一當百。

He’s so versatile and can do any job.

樸素的著裝，隨和的樣子，讓人倍感親切的日常。這真的是剛才介紹的那位演員柳承龍！

This easy-going man with simple clothes is really the actor we introduced before!

這回他又要前往何處？

Where is he going?

原來是智異山的老姑壇。

This time he will go to Nogodan Peak of Jirisan Mountain.

與自然為友、喜歡行走和記錄的柳承龍，於去年夏秋探訪了韓國文化遺產，��參與了Road Documentary的製作。

Ryu Seungryong likes being with nature. He enjoys walking and recording. In summer and autumn last year, he participated in the production of Road Documentary, in which he explored Korean cultural heritage.

他的足跡始於慶尚南道的晉州，直到韓國最北端江原道的揚口。

His footsteps started from Jinju in South Gyeongsang Province and reached Yanggu in Gangwon Province, the northernmost part of South Korea.

沿著白頭大幹一路北上（指朝鮮半島由白頭山至智異山的山脈），仔細品味蘊含在血脈中的歷史文化。

Walk along Baekdudaegan (the mountain range running through Korean Peninsula) from south to north, and experience the Korean history and culture.

南原的盤索里，密陽的百中遊戲，晉州的劍舞，舒川的韓山苎麻夏布紡織，途径安城的男寺黨戲，直到揚口的突山嶺背架遊戲。

Pansori in Namwon, Baekjung Performance in Miryang, Geommu in Jinju, Hansan Ramie Fabric in Seocheon, Namsadang Performance in Anseong, Jigae (Korean traditional A-Frame back-carrier) Performance in Dolsallyeong of Yanggu.

顺着白頭大幹的山脉及河流，亲身感受非物质文化遗产的魅力。

Experience the charming intangible cultural heritage along the mountains and rivers of Baekdudaegan.

你好呀，小白！

Hello, Mr. White!

在這個過程中，柳承龍記錄著每一個瞬間。

Ryu Seungryong recorded every moment in this process.

盡情地享受著餘韻。

He enjoyed the aftertaste of this trip.

讓身心得到了洗禮。

And recharged his batteries.

柳承龍將這樣的瞬間融進作品裡，化為另一種能量。

Ryu Seungryong integrated these moments into the documentary and turned them into another kind of energy.

EBS特輯紀錄片「柳承龍的白頭大幹文化遺產考察記」已可在EBS的官方網站上回看。

EBS special documentary “Ryu Seungryong’s exploration of cultural heritage along Baekdudaegan” is now available on EBS official website.

在這間工作室裡，可以感受木頭的紋理。

In this studio, you can feel the texture of wood.

這些木製品上，刻有柳承龍的簽名。也許……？

The woodwork is engraved with Ryu Seungryong’s signature. Maybe…?

你猜對了！

You’re right!

親自挑選木材。

Select the wood personally.

加工。

Wood processing.

一塊多功能木板誕生了！

A multi-functional wood plate is finished!

因為喜歡木頭帶來的舒心感而開始做木工。

Fall in love with woodworking because of the comfortable feeling when being with wood.

現在做木工不僅是他的愛好。

Now woodworking is not only his hobby.

照片來源：演員李東輝的IG

source: Actor Lee Donghwi’s Instagram

更是他和珍重的人們分享喜悅的方式。

It’s also a way for him to share the happiness with the people he loves.

「極限職業」中的高班長和「屍戰朝鮮」中的趙學柱簡直是天壤之別，作品中的柳承龍和日常生活中的柳承龍也是判若兩人。百變之間，每張面孔共同構成了柳承龍。

It’s hard to believe that Chief Go in Extreme Job and Cho Hakju in Kingdom are played by the same actor. His images in works and in daily life are also very different. All these different aspects make up Ryu Seungryong.

他是「職業人」呢還是「自然人」呢？對這個問題，我們的答案是：作為一名演員也好，作為一個人也好，他始終是那個充滿魅力的柳承龍！

Is he a professional actor or a nature-lover? Our answer is: Whether he’s a professional actor or a nature-lover, he’s just the charming Ryu Seungryong!

這就是今天我們為您帶來的消息！

This is what we bring you today!

……

你一定知道，這麼輕易地走掉不是我們的風格！所以現在是——彩蛋時間！

You must know that we won’t just go away easily! So now is Bonus Time!

你還好嗎？

Are you OK?

是不是要嚇死啦？

It’s really a big surprise!

被嚇到魂飛魄散的柳承龍先生在網上引起了熱議。

Frightened Mr. Ryu become a heated topic online.

被嚇過之後，柳承龍緊緊地握著他們的手，向這些竭盡全力飾演喪屍的演員們表達衷心的感謝與鼓勵。

After being frightened, Ryu Seungryong held their hands with all his strength to express his sincere gratitude and encouragement to them who did their best to play zombies.

雖然還有很多照片沒有公佈，但也要放下遺憾，第N次去觀看「極限職業」！

Although there’re still lots of photos that haven’t been posted, we should let go of our regret and watch Extreme Job again!

嗖！

Whoosh!

在各自的位置上以極限的毅力和意志度過每一天的諸位！希望您在看過「極限職業」後，能以愉快的能量度過新年的每一天。

For those of you who spent last year with extreme perseverance and determination! We hope you can spend every day happily this year after watching Extreme Job.

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