초록 열기/닫기 버튼
<심청전>은 특별한 ‘갈등 관계’가 나타나지 않고, ‘비장미’를 주된 정조로 삼는다는 점에서 다른 판소리 작품과 구별된다. 언어의 묘미를 살린재미있는 이야기를 가리키는 ‘재담’이 <심청전>에 그리 많이 존재하지 않는 이유가 여기에 있다. 아버지를 위해 숭고한 희생을 실천한 인물의 행위와 그에 대한 보상을 위해 천상계가 개입하는 문제 해결 방식 사이에재담이 자리 잡을 수 있는 여지는 거의 없다. 하지만 지나치게 진지하고엄숙하며 이념적인 인물의 모습은 때로는 작품의 완성도에 부정적 영향을 끼칠 수도 있다. 이에 매우 현실적이고 비속하며, 희극적인 인물이 작품 전체의 조화와 균형을 위해 필수적으로 요구되었을 것이고, 이러한 요구를 충족하는 데에 재담의 필요성이 제기되었을 것으로 여겨진다. 심봉사를 중심에 두고 <심청전>을 요약하면, 모든 것을 잃고 추락했다가 회복하는 이야기라 할 수 있다. 추락하는 과정에서 심봉사는 한없이 비루하고 비속해진다. <심청전>에서 ‘심청의 서사’와 ‘심봉사의 서사’는상반되는 관계 속에서 절묘한 균형을 이루고 있다. 말하자면, 경건한 심청과 비루한 심봉사의 이야기가 두 개의 중심축을 이루고 있는 것이다. 심청이 인당수에 빠지는 대목을 중심에 두고 볼 때, 이전 대목에 거의 없던 재담이 이후 대목에 집중적으로 나타나는 이유는 주목할 만하다. 심봉사를 묘사하는 데에 재담이 중요한 역할을 담당하기 때문이다. 엄숙성과비속성, 비장미와 골계미가 조화를 이루면서 균형을 잡은 것이 <심청전> 이 애호를 받으며 전승될 수 있었던 중요한 이유라고 판단되며, 비속성과골계미를 표현하는 데에 재담이 매우 중대한 역할을 했다는 점은 눈여겨볼 필요가 있다.
Jaedam (才談), or a joke, is considered to have taken on a very important role in the structure of pansori narratives. But when one examines the transmission and transfiguration of pansori in a diachronic way, one can know jaedam hasn’t always been treated positively. Pansori as a performance art commonly had the tendency to reduce the amount of jaedam and seek musical completion. On the other hand, pansori as a text for reading takes on an entirely different tendency. It didn’t simply use jaedam but actively utilized it or expansively transformed it. Pansori as a performance art put top priority on the singers’ talents and highly valued “popularity,” and pansori as a text for reading focused on ‘interest’ through defamiliarization. So if this can be generalized, the relation between pansori and jaedam can be explained more clearly. Simcheong-jeon (A Story of Sim Cheong) can be distinguished from other pansori works because it doesn’t have an apparent “conflictual relationship,” and it has the aesthetics of ‘tragic beauty’ as its main mood. That is why jaedam, which means amusing jokes that contain textual beauty, is hardly employed in Simcheong-jeon. There is little space for jaedam to settle in between the character’s action of noble sacrifice, and the method of resolving a problem by the intervention of the heavenly mandate aimed at rewarding the character for her behaviors. The overly serious, solemn, and ideological behavior of the character can sometimes cause negative influences on the completion of this piece. That is why a realistic, vulgar, and comical character was vitally required for maintaining the piece’s harmony and balance. So it is considered that the necessity of jaedam was brought up to meet these needs. To summarize Simcheong-jeon by putting Sim Cheong’s father Sim Hak-gyu in the center of the story, it is about losing everything and then restoring it. Sim Hak-gyu, the blind man who had lost his wife but had a daughter, lost his daughter and got a second wife, and then loses not only his second wife but also all the possessions and honor. But he recovers almost all things after losing everything. In the process of losing everything and falling into the bottomless pit, the elder Sim turns vulgar and unhandsome. Simcheong-jeon is balanced sublimely between Sim Cheong and her father’s narrative. In other words, the solemn Simcheong and her vulgar father are forming two central axes. When one puts the part where Sim Cheong plunges into Indangsu Waters (印塘水) as the main scene, it is notable to see that jaedam, which hardly appeared prior to this scene, appears frequently. That is because jaedam takes an important role of describing Sim the blind father. The fact that solemnity and vulgarity, tragic beauty and comic beauty formed harmony and balance is regarded as the important reason why Simcheong-jeon has been loved and passed down to the present times. And it’s worth noticing that jaedam took on a very important part in expressing vulgarity and comic beauty.
키워드열기/닫기 버튼
Simcheong-jeon, Jaedam, Pansori, Text for Song, Text for Reading, Tragic Beauty, Comic Beauty, Solemnity, Vulgarity
