서울굿의 연행방식 - 앉은굿과 선굿 - (The Performance Method of Seoul-gut)

서지정보

· 발행기관 : 한국공연문화학회
· 수록지 정보 : 공연문화연구 / 21호 / 361 ~ 402페이지
· 저자명 : 염원희

초록

본 논문은 서울굿에 대한 연행론적 차원의 연구이다. 굿을 구성하는 가무악희(歌舞樂戱)의 연행요소를 고려하면서, 서울굿의 연행방식을 ‘앉은굿’과 ‘선굿’으로 구분하였다. 노래와 공수라는 언어적 표현, 장단이라는 음악적 표현, 춤과 의례행위라는 행위적 표현과 결합한 연행방식은 굿이라는 종합예술을 이룬다.
앉은굿과 선굿의 연행방식은 서울굿의 정형성을 유지하는 필수적 요건으로, 서울굿이 변화하고 있는 현 상황에서도 절대 변하지 않는 틀이다. 서울굿은 강신한 신이 공수를 준다는 선굿 중심의 굿이면서, 종교 의례적 의미를 내포하고 있는 앉은굿이 고정적으로 연행되면서 균형을 이루며 유지되고 있다. 또 예전에는 연행방식에 의해 담당층이 분화되었는데, 강신무권이면서도 기대라는 세습집단이 있어 앉은굿의 연행을 담당했다면, 이 집단이 소멸된 지금에는 기술적으로 발달한 청송만신이 앉은굿을 전적으로 담당하고 있다. 무엇보다 서울굿은 재가집의 적극적 참여가 필요한 굿이다. 앉은굿에서는 재가집의 참여가 요구되지 않지만, 선굿에서는 <뒷전>을 제외한 매 굿거리마다 재가집이 해야 할 역할이 있다. 서울굿은 그 어느 지역보다 재가집의 역할이 의례의 과정 안에 깊숙이 들어가 있다.
서울굿은 시대적 변화에 적응하면서 어떤 부분은 축소되기도 하고 아예 생략되기도 한다. 그러면서도 다양한 종류와 양상 안에서 절대 변하지 않는 체계를 간직하고 있다. 이 체계가 서울굿의 정형성을 유지하는 힘이 되는데, 바로 앉은굿과 선굿의 연행방식이야말로 이 정형성에 기여하고 있다.

영어초록

This paper deals with Seoul-gut (Korean shamanist rituals played in Seoul region, often with a physical or psychological healing effect), adopting performance-centered approach. Considering the performance elements of song, dance, music and play which constitute a gut, the researcher divided the performance method of Seoul-gut into sitting ritual (Anzon-gut) and standing ritual (Seon-gut). The performance method, which has been combined with linguistic expressions such as song and Gongsu (shaman’s possessed speech believed as messages from death), and musical expressions in terms of Jangdan (repeating rhythmic cycle) and behavioral expressions such as dance and ritual behavior, forms comprehensive art, which is a gut.
The performance methods of sitting ritual and standing ritual are essential elements that maintain the regularity of Seoul-gut, and so, even under the present situation where Seoul-gut has been changing, these are the frames which are absolutely not to be changed. Seoul-gut is a Korean shamanist ritual on the basis of a standing ritual which has been known that the god or spirit which has been invoked delivers the messages from the dead, and at the same time, sitting ritual which includes the meaning of religious rituals is to be performed steadily. Therefore, these two shamanist rituals maintain good balance in Seoul-gut. In the past, the performers’ roles in the rituals were divided according to the performance method. That is to say, even though the shamanist ritual was originated from the region where Gangshinmu (destined shaman) plays the role of god or spirit in the rituals, meanwhile, however, there was a hereditary group, called Gidae, musicians who also participated in the rituals taking charge of a performance as in sitting ritual. However, this musician group had been vanished. At the present time, female shaman called Cheongsong Mansin who has prowess in performing the rituals takes full charge of sitting ritual. More than anything else, Seoul-gut is Korean shamanist ritual where active participation of the ritual organizer (called Jaegajip) who has invited the shaman and is overall responsible for the ritual is greatly required. Sitting ritual does not require Jaegajip to participate in the rituals, in the meantime, however, in standing-gut, there are some roles which should be performed by Jaegajip at each shaman song performed during the rituals except Dwitjeon (exorcism of hungry ghosts, evil spirits, and demons from the ritual area). In Seoul-gut, the role of Jaegajip has penetrated into the procedures of the shamanist rituals deeper than any other regions.
Having adapted to the changes of time, some part of Seoul-gut has been reduced in size, and some performance has been skipped completely. Nevertheless it keeps a system that is absolutely not to change, while featuring diversified kinds and modes of performance. This system is the energy to maintain regularity of Seoul-gut, and the performance method of both sitting-gut and standing-gut truly make contribution to form such regularity.

참고자료

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