본 논문은 서울의 속가 가운데 한 편인 재담소리 ‘<장대장타령>’과 관련하여 문학 자료(<장대장네굿(최선묵 구술)>, <장대장타령(홍경산 구술)>)와 음악자료(박춘재 소리/백영춘 소리)를 대상으로 하여 구성상의 특성과 이본관계, 삽입가요의 존재 양상을 통해 문학사적 의의를 도출하고자 하였다. 우선 구성상의 특성에서는 <장대장타령>과 관련된 이본간의 비교, 대조를 통해 ‘장대장 이야기’와 ‘장대장과 만신의 이야기’, 그리고 ‘만신과 맹인 판수’와의 이야기로 구성되어 있으며, 그 이야기에는 줄곧 재담이 다양한 양상으로 존재하고 있음을 고찰했다. 또한 이러한 재담을 통해 당시 광대와 관객 상호간 소통과정의 한 단면을 살필 수 있었다. 재담소리 <장대장타령>은 삽입가요와 함께 논의해야 한다. 당시 <장대장타령>의 흥행은 서사적 내용의 회자와 함께 작품에 삽입된 노래, 즉 민요, 잡가, 노랫가락, 무당소리, 타령 등도 급속하고 광범위하게 유행시켰을 것으로 추정된다. 그 유행의 기반에는 경제의 중심이자 문화 선도의 메카인 서울이라는 공간이 있었으며, 여기에 1910년 이후 급격한 발전을 보이는 방각본 잡가집의 발간과 SP음반 제작, 라디오 방송과도 많은 관련성을 갖고 있다. 결국 재담소리 <장대장타령>을 통해 격동의 시기였던 20세기 초 한국인들이 선호하던 연행 형태의 한 단면을 재발견하게 되었으며, 더불어 삽입가요는 당시 서울에 속가를 유행, 파급시키는데 일정부분의 역할을 했음을 살필 수 있었다. 여기에는 오랜 시간에 걸친 노력의 결과물인 <경기명창 박춘재> 음반 복각과 <서울 재담소리-장대장타령, 장님타령>의 복원이라는 성과물이 있었기 때문에 가능했음을 밝혀둔다.

We researched, in this paper, the structure of narration, the aspect of witticism, and mixing use of Sokga(a popular song) about <Jangdaejang taryeong(장대장타령)>, one work of Jsedam-sori of Seoul based on a literature material <Jangdaejangne Gut(장대장네 굿)>, <Jangdaejang-taryeong> and on a music material <Park chun jae/Back yeong chun Sori(박춘재/백영춘 소리>. Jsedam-sori is a special formed song mixing with Jsedam(witticism) and Sori, also a main Sori genre sung by clown, existed before Pansori. In fact, this kind of research was carried over for a long time, but we get an opportunity of approaching to the work-analysis a lot better, because of restoration of a phonograph record <Seoul Jaedam-sori Jangdaejang- taryeong, Jangnim-taryeong(2007)> by <Gyeonggi-myeongchang Park chunjae(1996)> and Back yeong chun, Choi yeong suk, all a noted singer. As a result of investigating the narrative-structure and contents of the work, we could discover that Jangdaejang-taryeong is consisted of Jangdaejang's story, jangdaejang and shaman's story, shaman's and a blind fortuneteller's story, and that Jaedam(witticism), in the story, existed in a vaious aspect. and through this Jsedam, we could observe the section of mutual consciousness appeared between the clown and the spectator. Also we could know that Sokga, that is, folksongs, Jap-ga, Noraegalak, Dan-ga, Taryeong, is spreaded in a high speed, widely, through fashion of Jaedamsori Jangdaejang-taryeong in Seoul. We studied the influence-relation between the publication of Banggakbon Japgajip and the manufacture of SP phonograph record which is developed rapidly since 1910. As a result, we could rediscover the aesthetics of laugh of Korean in the early 20C, the time of tumult, through <Jangdaejang-taryeong>, a sort of Jaedam-sori, and it contributed to the fashion and spreading of Sokga of Seoul All of this was possible, because of some products. The one is reproduction of phonograph record of <Gyeonggi-myeongchang Park, chunjae>. The other is restoration of <Seoul Jaedam-sori-Jangdaejang- taryeong, Jangnim-taryeong> which is their product of toil, for a long time. Thank you.

We researched, in this paper, the structure of narration, the aspect of witticism, and mixing use of Sokga(a popular song) about <Jangdaejang taryeong(장대장타령)>, one work of Jsedam-sori of Seoul based on a literature material <Jangdaejangne Gut(장대장네 굿)>, <Jangdaejang-taryeong> and on a music material <Park chun jae/Back yeong chun Sori(박춘재/백영춘 소리>. Jsedam-sori is a special formed song mixing with Jsedam(witticism) and Sori, also a main Sori genre sung by clown, existed before Pansori. In fact, this kind of research was carried over for a long time, but we get an opportunity of approaching to the work-analysis a lot better, because of restoration of a phonograph record <Seoul Jaedam-sori Jangdaejang- taryeong, Jangnim-taryeong(2007)> by <Gyeonggi-myeongchang Park chunjae(1996)> and Back yeong chun, Choi yeong suk, all a noted singer. As a result of investigating the narrative-structure and contents of the work, we could discover that Jangdaejang-taryeong is consisted of Jangdaejang's story, jangdaejang and shaman's story, shaman's and a blind fortuneteller's story, and that Jaedam(witticism), in the story, existed in a vaious aspect. and through this Jsedam, we could observe the section of mutual consciousness appeared between the clown and the spectator. Also we could know that Sokga, that is, folksongs, Jap-ga, Noraegalak, Dan-ga, Taryeong, is spreaded in a high speed, widely, through fashion of Jaedamsori Jangdaejang-taryeong in Seoul. We studied the influence-relation between the publication of Banggakbon Japgajip and the manufacture of SP phonograph record which is developed rapidly since 1910. As a result, we could rediscover the aesthetics of laugh of Korean in the early 20C, the time of tumult, through <Jangdaejang-taryeong>, a sort of Jaedam-sori, and it contributed to the fashion and spreading of Sokga of Seoul All of this was possible, because of some products. The one is reproduction of phonograph record of <Gyeonggi-myeongchang Park, chunjae>. The other is restoration of <Seoul Jaedam-sori-Jangdaejang- taryeong, Jangnim-taryeong> which is their product of toil, for a long time. Thank you.

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Park chun jae(박춘재), Jaedam-sori(재담소리), Jangdaejang-taryeong(장대장타령), Jangdaejangne Gut(장대장네 굿), Sokga(속가(俗歌))