Biography and Early Imprint
I write about people who live between light and shadow, and Lee Ho-ung is a figure who prefers the stage lights to the glare of celebrity. Using the name you gave, Lee Ho-ung is known in the Korean theatre world as a director, adaptor, teacher, and the artistic head of a small but ambitious troupe commonly referred to as 극단의극단. His public footprint is concentrated in productions, festival appearances, and occasional mentions in profiles of his spouse. Exact details about his early life and birthdate are sparse in authoritative public records, which suits the temperament of a theatre director who cultivates craft more than headlines.
I see him as a maker of small universes. On paper those universes appear as production credits, festival listings, and program notes. In practice they are evenings where audience and actor exchange histories, held together by his sense of timing and text. That pattern is visible across the 2010s and into the 2020s: creative work, festival stages, and teaching engagements that thread through university classrooms and community playhouses.
Family and Personal Relationships
Family anchors a life that is otherwise invested in ephemeral performances. Publicly available information shows three key figures in Lee Ho-ung’s immediate family circle. I describe each with care and with respect for the private boundaries that public life still must keep.
Spouse – Jang Young-nam
Professional actress Jang Young-nam has a consistent public presence in theater, television, and movies. She was born in 1973, and journalists and festival organizers frequently cite her filmography and portfolio. In December 2011, she married Lee Ho-ung. Press profiles frequently characterize the marriage as a collaboration between two stage professionals. Many people associate the two names since Jang has discussed the marriage in TV shows and interviews.
I observe that the media portrays their connection as cooperative and encouraging. While he focuses on the more subdued tasks of stage direction and pedagogy, she pursues an aggressive career on television. In artistic partnerships when one partner works in broader media and the other in specialized, specialized circuits, the disparity in public attention—she as a visible screen presence, he as a theater maker—is common.
Child – a son (born 2014)
They have one son, publicly reported to have been born in 2014. No name or identifying private details are published in mainstream press. I will not speculate or try to unearth private information about a minor. The presence of a child is mentioned in multiple interviews and profiles of Jang, often in the context of work-life balance, the rhythms of parenting, and how two artists structure family life around rehearsals and shoots. That is the fullest, and most respectful, account I can give.
Extended family
Public sources do not furnish authoritative names or roles for Lee Ho-ung’s parents or siblings. For those relatives, the record is effectively silent. I treat silence as information. It tells me that either those family members live deliberately away from public attention or that biographical coverage of a mid-career theatre director simply does not dig into extended genealogy.
Career, Craft, and Achievements
I follow a career that reads like a map of committed, iterative work. Lee Ho-ung’s public credits include directing and adaptation for small theatres and festival stages. Key years and creative markers appear repeatedly:
| Year | Noted Activity |
|---|---|
| 2011 | Marriage to Jang Young-nam |
| 2014 | Birth of son |
| 2016 | Direction of a notable production titled 오래된 미래 (Old Future) |
| 2017 | Participation in regional performing arts festival with 플라나리아 (Planaria) |
| 2021 | Productions such as 이야기로 만든 □ listed in season programs |
| 2023 | Direction credit for 폴 포 러브 (Pol for Love) or similar small theatre work |
That table is not exhaustive. It is a scaffold. The real achievement is cumulative: years of rehearsals, scripts shaped in rehearsal rooms, actors guided through risky choices, and festival programs that select his work. He has also been involved in actor training and pedagogy. Contributions to training materials and the practice of teaching mark him as someone invested in the transmission of craft, not only its performance.
I characterize his achievements not by trophies but by persistence. In a theatre ecology where financial reward is uneven and recognition is fragmented, securing festival appearances and maintaining an active production slate across a decade is itself a form of acclaim.
Finance and Public Privacy
To be honest, there isn’t a publicly accessible, verifiable financial profile of Lee Ho-ung. No salary disclosures, no public net worth, and no property records that are reported in the media. For private persons without commercial empires or governmental authority, its absence is typical.
Based on the trajectory of his career, I may conclude that his sources of income are probably a combination of festival funding, production fees, teaching stipends, and sporadic royalties or honoraria. In Korea, a mid-tier theater director’s financial life is typically project-based and interspersed by times when money is scarce. Such findings are not personal revelations, but rather systemic context.
Recent Mentions and Public Presence
In recent years his name tends to surface in two contexts: program listings and profiles that profile his spouse. Theatre databases list his production credits in 2021 and 2023; festival programs from 2017 onward include his work; television interviews and magazine pieces about Jang Young-nam mention him as her spouse and as a theatre director and teacher. Social media and fan blogs occasionally reference family photos or career announcements, but no major, sustained personal platform or verified celebrity account exists in his name that carries the kind of frequent public updates one sees with mainstream celebrities.
FAQ
Who is Lee Ho-ung?
I would describe him as a theatre director, adaptor, and educator who leads a small troupe and produces work across Seoul’s small theatre circuit and regional festivals. He is also the spouse of actress Jang Young-nam.
When did he marry Jang Young-nam?
They married in December 2011. The marriage is a recurring biographical note in profiles of Jang and in coverage of his stage work.
Do they have children?
Yes, they have a son who was born in 2014. No name or identifying private details are publicly listed.
What are his major works?
His career highlights include stage productions in 2016, 2017, 2021, and 2023. Titles associated with him include 오래된 미래, 플라나리아, 이야기로 만든 □, and 폴 포 러브. These works appeared in festival programs and theatre season listings.
Is there public information on his finances?
No verifiable, public financial records exist for him. Typical income sources for someone in his role include teaching, production fees, grants, and project-based stipends.
Where does he appear most often?
He appears most often in theatre program notes, regional festival lineups, and occasional mentions in interviews with his spouse. The stage is his primary site of appearance, and the classroom often acts as his secondary stage.
