『악학궤범』<봉래의> 여민락 무의 이동구조 탐색 (A Study on the Movement Structure of Yeominlak Dance of “Bonglaeeui” in Akhakguebeom: Useonhwaemu)

서지정보

· 발행기관 : 무용역사기록학회
· 수록지 정보 : 무용역사기록학 / 23권 / 19 ~ 43페이지
· 저자명 : 손선숙

초록

본 연구는『세종실록악보(世宗實錄樂譜)』의 여민락(與民樂) 음악에 추어진 조선초기 <봉래의(鳳來儀)> 정재의 ‘우선회무(右旋回舞)’ 구조를 현행에서는 ‘우선회무’와 ‘좌선회무’로, 도는 횟수도 3바퀴로 돌고, 무원들의 이동 순서 및 과정이 서로 다른 양상을 보여『악학궤범(樂學軌範)』을 중심으로 실연관점으로 분석하였을 때 다음과 같은 결론을 얻었다.
첫째,『악학궤범』<봉래의>의 초입배열도에 좌우대의 무1과 무2의 무원배열위치를 서로 다르게 제시한 것은 각 무원들이 이동하는 순서를 표시한 것이었다.
둘째, ‘우선회무’는 서쪽으로 1바퀴만 돈 것이었다. 그 이유는 홀기에는 도는 횟수까지 정확히 제시하였는데 <봉래의>에는 그러한 제시가 없는 점이고, 또 다른 하나는 좌우대의 무원들이 각 배열위치를 밟아가면서 이동하기 때문에 가능한 것이었다.
셋째, 여민락 무의 ‘우선회무’는 무 전체가 한 줄로 둥글게 도는(圓) 회무이다. 이동 방법도 좌대와 우대의 무원들이 ‘좌무 1-2-3-4와 우무 4-3-2-1’ 순으로 차례로 나아가 한 줄로 이어 도는 과정으로 이동하는 것이었다.
이상으로『악학궤범』<봉래의> 여민락 무의 ‘우선회무’를 실연관점으로 검토하였을 때 초열인 4대 좌우대형에서 적인장(狄人章)을 부르며 돌기 시작하여 좌대와 우대의 배열 위치를 차례로 밟아가면서 야인장(野人章)․천세장(千世章)․자자장(子子章)을 부르고 오호장(嗚呼章)에 이르러 사방대형으로 서는 것을 알 수 있었다.

영어초록

According to Akhakguebeom(樂學軌範), Useonhwaemu(右旋回舞) is a part of the dance for Yeominlak(與民樂) of “Bonglaeeui(鳳來儀)”. It is performed from Jeokinjang(狄人章) through Yainjang(野人章), Cheonsejang(天世章) and Jajajang(子子章) finally to Ohojang(嗚呼章) where the dancers stand in the Sabang(四方) formation. Useonhwaemu is performed in the Changsa(唱詞) formation except for the part from Jeokinjang to around the end of Ohojang.
Useonhwaemu begins when the Jwau(左右) formation changes to the Sabang formation. Though Akhakguebeom illustrates both formations and suggests the direction of Hwaemu(回舞), it doesn't specify the scale and way of movements. Therefore, there are confusions when it's performed today. For example, Useonhwaemu is replaced by Jwaseonhwaemu for Yeominlak dance, turning around three times. Also, there is not any agreement on the procedure and process of movements.
This study examines the structure of Useonhwaemu of “Bonglaeeui”, the dance accompanying Yeominlak music of Sejongsillokakbo in the early Joseon, referring to Akhakguebeom, in terms of performance. The main findings are as follows.
First, the illustration of the initial arrangement of “Bonglaeeui” in Akhakguebeom marks the moving order of each dancer by giving numbers to dancers on the left and the right like Dancer 1, Dancer 2, and so on.
Secondly, Useonhwaemu for Yeominlak dance of “Bonglaeeui” is made only once to the west. It is partly because it is not mentioned at all in Bonglaeeui how many times the dancers should turn around whereas it's specified in Holgi. Besides, the dancers can turn around once because they have to move treading on each arranged position on either side of left or right.
Thirdly, Useonhwaemu for Yeominlak dance of “Bonglaeeui” is a circle dance where the whole dance goes along in circle in a line. The way the dance moves is that the dancers from the left and right go out turn by turn, form a line and finally turn in a circle, like left dancers 1-2-3-4 and right dancers 4-3-2-1.
Sejongsilokakbo and Akhakgubeom are the literature that compiled the court performance art of the early Joseon. They had been a guide for the performance art of Joseon for over 5 centuries. They compiled the dance and music of the early Joseon with the illustrations not merely for academic purpose but for practical one. In order to establish the theoretical foundation for the practice of Jeongjae, they need to be studied from different angles. The problem is how to interpret the ancient literature because its interpretation might be different from person to person according to the different standard applied to it. Therefore, it's important for those who study them to make public and put on record the perspectives and methods they take for the research. Only then will it be possible to build the foundation to restore and reproduce the dance culture of the Joseon Court.

참고자료

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