조선 통신사(通信使)의 일본에서의 연행(演行) –『해행총재(海行摠載)』를 통해 본 17, 18세기 조선 통신사의 연행– (Professional Entertainment -Performances for the Envoys of Chosŏn Korea on Their Travels to Tokugawa Japan-)

서지정보

· 발행기관 : 우리문학회
· 수록지 정보 : 우리문학연구 / 55호 / 7 ~ 35페이지
· 저자명 : 강혜선

초록

조선 통신사행(通信使行)은 조선과 일본의 선린(善隣) 관계를 위한 정치외교의 길이자, 양국의 경제와 문화가 교류되는 장이었다. 17, 18세기에는 동아시아의 정치적 안정을 바탕으로 문화적 교류가 활발하였으며, 그 결과 조선의 문화예술 관련 기록이 풍성하게 나타났다. 통신사는 기예인으로, 마상재(馬上才), 악공(樂工)을 위시하여 군관(軍官), 취수(吹手), 기수(旗手) 소동(小童) 등을 대동하였는데, 서울-부산-쓰시마(對馬島)-오사카(大坂)-교토(京都)-에도(江戶)로 이어지는 여정에서 공식, 비공식의 크고 작은 연행을 하였다.
악가무(樂歌舞) 경우, 음악감독인 전악(典樂) 2명과 실제 여러 악기를 연주하는 악공들, 취고수(吹鼓手), 세악수(細樂手), 풍악수(風樂手) 등 50-60여 명에 달하는 이들이 각종 연향과 행진의 음악을 담당하였다. 이들은 삼사(三使)에 배속되어 각종 수요에 응하였다. 노래[歌, 歌唱]를 담당한 기예인은 따로 없었고, 군관 또는 자제군관(子弟軍官) 중 노래에 능한 자가 맡았다. 또, 삼사의 시동인 소동이 가무를 맡았는데, 소동 춤은 궁중 여기(女妓)와 비슷한 복식으로 무동정재(舞童呈才)와 유사한 연행을 하였다. 통신사는 궁중음악인 아악(雅樂)의 악기 일부도 가져간 것으로 보아 아악도 연주하였던 것 같다. 가무관련 기록 중 마상재인(馬上才人)이 기생을 대신해 검무(劍舞)를 공연한 점이 특히 주목된다. 일본에서는 통신사를 위한 비공식적 연행이 수시로 열린 바, 삼사의 배에서 선상 음악회가 열리는가 하면, 육로의 숙소에서 비파나 피리 등의 독주나 노래를 곁들인 작은 공연이 수시로 열렸다. 타국에서 맞는 명절에는 잔치와 함께 공연이 이루어졌다. 일본의 요청으로 대마도주(對馬島主)의 강호저택에서 대규모로 가무가 연행되었다.
마상재와 활쏘기[射藝]는 가장 대표적인 공식 공연으로, 조선 군대의 위용과 군사문화를 과시하였다. 마상재인으로 최고의 실력을 지닌 마병(馬兵) 2인을 선발하고, 활쏘기는 군관이 담당하되 육량전(六兩箭)을 잘 쏘는 장사군관(壯士軍官)을 따로 선발하였다. 안동, 영천 등에서 연습과 준비를 명분으로 시연하곤 했는데, 통신사를 위한 유흥과 오락의 성격을 띠면서 동시에 지방 관민(官民)을 위한 특별 공연의 성격을 띠었다. 일본에서의 마상재, 활쏘기는 공식화, 관례화 되어, 대마도주의 대마도저택, 관백의 궁궐, 대마도주의 강호저택에서 각기 이루어졌다. 관백의 마상재 관람은 ‘곡마상람(曲馬上覽)’으로 명명되었으며, 그날의 성적과 관객 반응은 통신사 복명(復命) 시 임금이 직접 탐문할 정도로 중시되었다. 대마도주의 강호저택에서 열린 공연은 일본이 통신사에게 제공한 화려하고 성대한 연향에 대한 화답의 성격을 지녔다.
광대놀음[倡優戱]과 잡기(雜技) 경우 기록이 매우 소략하여 구체적 실상을 제대로 파악하기 어렵지만, 가장 인기가 있었던 것으로 보인다. 통신사 명단에 재담, 연기, 잡기를 담당한 자들이 따로 보이지 않지만, 배우 또는 광대, 잡기 기예인, 무당, 해학이나 만담[謔浪戱笑]에 능한 자 등이 다수 동행하였다. 이들은 격군(格軍), 사령(使令), 사노(使奴) 등의 신분으로 동원되었다. 또한 풍악수(風樂手)가 삼현육각(三絃六角)을 연주하면서 창우희(倡優戱)나 광대담(廣大談)을 하기도 하였다. 잡기의 한 종목으로 줄타기가 있었다.
통신사의 공적인 의례(儀禮)도 일종의 연행으로 볼 수 있는 바, 대마도 입성 행차와 상견례(相見禮), 하선연(下船宴), 강호의 전명의례(傳命儀禮)는 대단한 볼거리였다. 각종 의장(儀仗)을 갖추고 풍악(風樂)을 울리며 각자의 신분과 임무에 부합하는 복장을 하고 행차(行次)하는 광경은 연도에 수많은 구경꾼들을 운집하게 하였다.
이상과 같이 『해행총재(海行摠載)』를 통해 보면, 통신사는 의례, 궁중음악(아악), 사대부의 시문과 서화, 실내악, 마상재와 활쏘기, 삼현육각의 민속음악, 소동 춤, 민간의 광대놀음과 잡기 등 조선의 다양한 공연문화를 일본에 소개하였다. 그런데 기행문을 남긴 조선의 문인들은 각종 공연을 긍정적으로 보았음에도 불구하고, 상층 문화로 자신들이 직접 참여한 시문, 서화 등의 활약상에 비해 상대적으로 소략하게 기술하였다. 그 결과 연주곡, 노래의 가사, 광대놀음이나 잡기의 구체적인 내용 등이 기록되지 못한 한계를 보였다.

영어초록

The royal court of Chosŏn Korea sent envoys, called Tongshinsa to the bakufu of Tokugawa Japan. Although the visits were basically undertaken for the political and diplomatic purposes of stabilizing foreign relations with Japan, they also accompanied economic and cultural interactions between the two countries. In particular, the visits in the seventeenth and eighteenth centuries featured prominently in dynamic cultural exchanges, which were founded upon the political stability in East Asia. This paper analyzed travel writings from that time to examine the diverse kinds of performance that the entertainers traveling with Chosŏn envoys offered in Tokugawa Japan. The envoys of Chosŏn accompanied professional entertainers who were trained in music, or in theatrical performance. Various performances were held along the long route connecting Seoul, Pusan, Tsushima, Osaka, Kyoto, and Tokyo.
Music, song, and dance：Two music directors and many musicians, who actually played multiple instruments, accompanied the Tongshinsa. More than 50 to 60 musicians charged the music of the march and the banquets. There was no independent specialist in charge of singing, instead some of the military officers or personal attendants of the three ambassadors were in charge. Young male servants doing chores were also responsible for singing and dancing. The Tongshinsa took instruments for marching music such as Chuita(the band music of a royal procession) and Samhyeonyukgak(three strings and six horns) to Japan. In addition, the Tongshinsa took instruments for A-ak, namely ritual or court music. It is noteworthy that a rider on horseback danced the sword dance. Informal performances were held primarily for the purpose of comforting the members of Tongshinsa and for their enjoyment. For example, while the musicians were playing their instruments on ship, some singers on the next ship responded with a song to the music. Also, three ambassadors held a feast and music concert for all envoys on the national holidays. Thereafter, the concert was held at the request of Japan. In particular, the governor of Tsushima requested concerts in his mansion in Edo. According to the records, the dance of the young male servants consisted of a contredanse performed by two of them. The dance of the servants wearing colorful silk clothes was similar to the mudong jeongjae(舞童呈才) in the court.
Masangjae(acrobatics on horseback) and archery：Acrobatics on horseback and archery were the official representative performances that began at the request of the General of Japan. Acrobatics on horseback largely comprised eight martial arts. There were two kinds of archery, martial arts to represent the majesty of the Chosŏn army and those that showed off the military culture of the Chosŏn. On the way to Japan, acrobatics on horseback and archery were performed in major cities in Korea in order to prepare for and practice the performance. These performances were special events intended to demonstrate the splendor of martial arts to local people. While the members of Tongshinsa were staying in Tsushima, acrobats on horseback and archers were officially requested to perform. Masangjae was called Gokma(曲馬) in Japan. Masangjae and archery were held on the Yayosu(八代須) riverside or Yasutamon(田安門). The most important official duty was to deliver the king’s message to the General. While the Tongshinsa were waiting for the General’s response, masangjae and archery performances took place in the castle of the General. After the performances, the ambassadors received detailed reports on the condition of the performance site, the reaction of the audience and the grades of eight military officers. It was customary that the Tongshinsa were officially invited to the mansion of the Tsushima governor while they were staying in Edo. They received a cordial reception from the Tsushima governor and then watched various Japanese performances. In order to repay the governor for the reception, Tongshinsa held masangjae, archery, and music performances.
Entertainers performance and folk acrobatics：On the Tongshinsa’s list, the names of those who were responsible for paronomasia, acting, and folk acrobatics were not recorded. However, Tongshinsa accompanied actors, clowns, humorous storytellers, performers of folk acrobatics, and shamans. These people originally worked as boatmen or servants, but some who had great talents in acting and acrobatics were selected for the performances. Poongaksu who were musicians belonging to the local authorities, performed paronomasia or acted while simultaneously playing musical instruments.
Rituals and marches：With the military band and honor guards, Tongshinsa paraded through the streets. The parade was a great spectacle in itself. Many spectators gathered to watch the exotic marches. On the list of Tongshinsa, we can see a total of 57 musicians consisting of trumpeters, drummers etc. They played marching music in front of a palanquin with the king’s message on it, on the back were with three ambassadors on palanquins. The honor guards were composed of flag bearers and gunners, drummers, and the flag signalers. In addition, people marched with swords, spears, and diverse flags. The members of Tongshinsa dressed in ritual costumes in accordance with their position. When the Tongshinsa arrived in Tsushima initially, the governor of Tsushima took a boat to greet the envoy. The governor then came to see the Tongshinsa in the temple Seosansa where the Tongshinsa were staying. Next, the Tongshinsa went to the castle of the governor. In order to deliver the Chosŏn king’s message to the General of Japan, Tongshinsa marched toward the castle of the General led by the Tsushima people. It was recorded that 2,168 people attended the march toward the castle in 1711. On the day of the ritual, all members followed the ritual rules about official costumes, music, marching orders, and diplomatic steps.
Tongshinsa introduced various performances of the Chosŏn to Japan including Chosŏn courtesy, court music and chamber music, poetry and prose, calligraphy and paintings, folk music, dance, acrobatics on horseback and archery, paronomasia, acting, and folk acrobatics. All these performances represented the essence of Chosŏn’s royal culture and variety of cultures both of the upper and the lower classes. However, those who wrote many of the travelogues were upper-class diplomats and officers in charge of writing, who usually took considerable pride in their identity as members of the gentry. They placed emphasis on creative activities, such as poetry and prose, calligraphy, and paintings. Although they accepted the performances as an important part of Chosŏn culture, they paid less attention to the performances than they did to poetry and calligraphy. As a result, the contents of the performance such as the lyrics of songs and the titles of music, the details of paronomasia, acting, and folk acrobatics are barely recorded in the travelogue records.

참고자료

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