초록 열기/닫기 버튼
본 연구의 목적을 조선전기 <동동> 중기의 <아박무>를 『악학궤범』을 토대로 복원하는 데 두고, 문헌과 재현 내용을 비교하고, 복원 관점으로 기록구조와 진행구조를 살펴 실제 수용범위와 근거에 대해 살폈을 때 다음과 같은 결론을 얻었다. 재현 <아박무>에서는 『악학궤범』에 기록된 “매월 사(詞)에 따라 춤을 바꾸고, 나아갔다 물러났다하며 춤춘다”라는 내용에서 ‘변무(變舞)’와 ‘진퇴(進退)’의 해석을 잘못 이해하여 ‘변무’를 새로운 춤으로 보았고, 이러한 춤은 무진ㆍ무퇴하며 추었다. 그러나 이 내용을 『악학궤범』의 기록구조와 무용 진행관점으로 분석하였을 때, ‘변무’는 “북향무-대무-북향-배무-환북향”을 말하는 것이고 ‘진퇴’는 매월 사[2월-12월]의 변화를 무진ㆍ무퇴로 하는 것을 말한다. 특히 ‘변무’를 출 때 박[악기] 치는 횟수가 다른 것과 2월부터 12월 가사가 돌림노래인 유절형식으로 된 것과 이의 음악적 진행구조에 따라 ‘변무’하고 무구를 사용해야 하는 원칙이 지켜지지 않았다. 본 연구에서는 위와 같은 상이점을 확인하고, 『악학궤범』의 내용대로 <동동> 중기의 <아박무>를 복원하기 위해 기록내용과 생략내용을 살폈을 때, 기록내용은 무용수 구성이 2인 인 점, 일렬대형에서 춘 점, 이동구조가 무진ㆍ무퇴인 점, 방향이 대무ㆍ배무ㆍ북향인 점이 확인되었다. 그리고 생략내용은 이 모든 춤을 출 때의 춤사위로, 춤사위의 수용범위와 근거는 문헌[『고려사』「악지」ㆍ『악학궤범』ㆍ『정재무도홀기』ㆍ의궤 정재도]과 정재전승자들의 전승 내용을 토대로, 무진과 무퇴는 정재 전승자들의 내용을, 북향무ㆍ대무ㆍ배무의 춤사위 형태는 정재도와 정재 전승자들의 내용을 수용하여 완성하였다. 그리고 춤 진행은 궁중법례에 따라 문헌 내용을 토대로 ‘내족선진(內足先進)ㆍ외수선거(外手先擧)’를 수용하였다. 따라서 『악학궤범』에 기록된 <동동> 중기의 <아박무>는 2월사부터 12월사까지 노랫말에 맞추어 ‘무진-북향무[3박]-대무[3박]-북향[1박]-배무[3박]-환북향-무퇴’로 추어야 하고, 이와 같은 춤을 무려 11회 반복하며 추는 춤임을 확인하였다.
With its purpose dedicated to restoring <Abakmu>(牙拍舞: a traditional Korean court dance performed carrying an abak(牙拍), a traditional Korean percussion made of ivory) performed to <Dongdong>(動動: a traditional Korean court music) in junggi(中機: medium tempo) according to the 『Akhakgwebeom』(『樂學軌範』: a treatise on music written in the Joseon Dynasty), the study has compared the way it has been reproduced with the way it was recorded in the literature, referred to the structure of its record in the literature and the flow of the dance for the restoration, and figured out the range and basis of acceptance accordingly. The results were as follows. <Abakmu> has been reproduced with a poor understanding of “byunmu(變舞: variation in a dance)” and “jintoe(進退: advances and retreats),” the two concepts included in the phrase “The dance is given variations according to maewolsa(每月詞: all the lyrics allocated to each month), and the dancer starts dancing by advancing and retreating.” in the 『Akhakgwebeom』(『樂學軌範』): “Byunmu(變舞)” has been interpreted as performing a new dance, and the new dance has been performed with mujin(舞進) and mutoe(舞退: dancing with advances and retreats). Given the structure of the record and the flow of the dance in the 『AkhakGwebeom』, however, “byunmu” refers to dancing in the order of “bukhyangmu(北向舞: a dance performed facing north) – daemu(對舞: a dance performed facing each other) – bukhyang(facing north) – baemu (a dance performed turning one’s back against the other) – hwanbukhyang(還北向: facing north again),” and “jintoe” means dancing to maewolsa (from February to December in particular) with advances and retreats. In addition, since “byunmu” has been danced with a different number of baks(拍: eats played on the instrument) and the lyrics for February through December each have had the same refrains, it fails to conform to the rule that byunmu is conducted and the mugus(舞具: props used while dancing) are used in accordance with the flow of the lyric and the song. As the differences were found out as above, this study took a closer look at what was recorded and what was not included yet in the 『Akhakgwebeom』 to achieve an authentic restoration of the dance performed to <Dongdong> in junggi. It was found out in the record that the dance should be performed by two dancers who stand in a row, dance with mujin and mutoe, and proceed in the order of daemu, baemu, and bukhyang. The parts that were not included were actually about the movements that should be practiced in performing all the dances above. This study came to an authentic restoration of the dance as its original form by referring to several sources: a few literature ― 『Goryeosa』(高麗史)「Akji」(樂志) ․ 『Akhakgwebeom』 ․ 『Jeongjaemudoholgi』 and Jeongjaedo(呈才圖) of Uigwe(儀軌) ― and the current practices of the transmitters of Jeongjae(呈才圖: a traditional Korean court dance) for the range and basis of acceptance of the movements; the Jeongjae transmitters for restoring mujin and mutoe; and Jeongjaedo and the Jeongjae transmitters for restoring the forms of the movements. As for the flow of the dance, this study adopted “naejokseonjin(內足先進) and oesuseongeo(外手先擧),” the rule for the court dance found in the literature. As a result, this study found out that Abak-mu, a dance performed to <Dongdong> in junggi as recorded in the 『Akhakgwebeom』, should be danced in the order of “mujin – bukhyangmu(on three baks) - daemu(on three baks) - bukhyang(on one bak) - baemu(on three baks) - hwanbukhyang – mutoe,” which should also be repeated as many as 11 times.
키워드열기/닫기 버튼
Dongdong, junggi, Abakmu, Akhakgwebeom, Byunmu, Jeongjaedo, Uigwe
中機
