Vanya Oh

Arcadia moves between two timelines two centuries apart, and the score is built to feel that gap physically rather than explain it. I wrote it around the Second Law of Thermodynamics, the idea that everything drifts toward entropy, disorder, cooling: the same law the play's characters are racing to prove and refusing to accept. Motifs from the past decay and scatter as they cross into the present, never quite resolving into the shapes they started as. It's a score about the certainty of ending, played by people who don't yet know how their own story ends. Arcadia was selected among 월간한국연극's Best 7 Productions of the Year. music instrumental soundtrack beat

• Music Composer
• Musician
• Soundtrack Musician

Leopoldstadt follows a Jewish family in Vienna from 1899 to 1955, and the score works on the same principle as the play's memory: erosion. I took archival audio and let it decay across five decades of the story, each layer thinner than the one before it, until what remained sat closer to static than to music. The score doesn't illustrate the loss. It performs it. music instrumental soundtrack

• Music Composer
• Music Supervisor