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영어

Between 1607 to 1811, during the latter part of the Joseon dynasty, there were a total of 12 diplomatic Tongshinsa. When arranging and viewing the stage arts performances and the number of times they were performed at an event or banquet, the Kemari(蹴鞠) was performed twice, the Wonhee(猿戯) twice, the Sarukaku(猿楽) three times, the Kabuki(歌舞伎) twice, the Ningyoyoruri(人形浄瑠璃) twice, the Japhee(雑戯) twice, the Chakgyungzihi(捉鯨之戱) twice and the Bugaku(舞楽) once. Among these, all fall under the category of "play." Thus, it can be said that the Japanese shogunate government placed "play" at the center of the Joseon Tongshinsa receptions and this can be a key point in the comparative study of the ceremonial culture of both the countries of Korea and Japan. The reception for the first delegation that was dispatched after the friendly relations were recovered was a Kemari. Kemari was a very ceremonial and stylish game conducted in a formalized location where trees were planted on all sides. Rather than to decide on a winner and loser, it was very peaceful in that balls were kicked around and the arts were enjoyed in and of themselves. There were many instances when the games were conducted with implications of The Peace of the World, The Abundance of Five Grains and Domestic Stability with prayers for these values to come to pass. Kemari that began in the beginning as play or what was ordinary for those who had low social status was reborn as a highly dignified game using a ball with as it proceeded to be ceremonialized with the active participation of the noble class and the emperor along with the opportunity given to raise one's social status. It can be said that a significant characteristic of Japanese traditional entertainment is that particular entertainment became ceremonialized and changed from "the ordinary" to "refined" with the participation of the upper class. The direction and the characteristics of the development of traditional entertainment can be transformed greatly based who leads and how the leading is conducted. In other words, the aspects could be different based on the cultural power structure that lead the development. In the case of Japan, the cultural power structure and the development of the arts was centered on Imperial household and the noble class during ancient times, the shogunate government and the warrior class during the middle ages and the working class during modern times. It appears that there needs to be a study conducted on the similarities and differences formed in the traditional arts based on the role that the cultural power structure had on the development of both countries.

일본어

1607年から1811年まで朝鮮通信使は12回派遣された。朝鮮通信使のために日本は規例に合わせて接待を行った。それぞれ派遣された通信使のために行われた接待の際、公演された舞台芸術を整理してみると蹴鞠が2回、猿戯が2回、猿楽が3回、歌舞伎が2回、人形浄瑠璃が2回、雑戯が2回、捉鯨戯が2回、舞楽が1回公演された。この中でも、歌舞伎、人形浄瑠璃、舞楽以外のものは‘戯’に属する。よって日本幕府は朝鮮通信使の接待に‘戯’をその中心に置いたということになるが、これは韓日両国の儀典文化を比較研究することにおいて重要なキーポイントになると考えられる。通交回復後、最初に派遣された通信使の接待には蹴鞠が行われた。日本の蹴鞠は四方に木が植えられ格式化された場所で行われる非常に儀式的で格調高い遊戯である。勝敗を分けるよりはボールを蹴ってその技芸を楽しむ非常に平和的な遊戯である。よって、天下泰平や、五穀豊穣、家の安寧など平和や和平等を祈るために行われる場合が多かった。蹴鞠は本来社会的な身分が低い人によって行われた遊びで‘俗’から出発した。が、貴族や天皇などの積極的な参加により社会的な地位が上昇するとともに儀式化が進行され格調高い球技遊戯に生まれ変わった。身分の高い階層の参加などにより儀式化されて‘俗’から‘雅’への変化を成し遂げていくのは日本伝統芸能の大きな特徴であるといえる。 伝統芸能の発展はそれを誰がどのように導いていくかによってその方向性や性格などが大きく変わる。言い替えれば時代別に文化や芸能を導いていくいわゆる文化権力層の役割によってそれらの発展様相が変わるということである。日本の場合、古代には皇室と貴族、中世には幕府と武士、近世には庶民中心の文化権力層が形成されて芸能の発展を導いていった。韓国も同じように時代別文化権力層を中心にその発展を遂げていった。今後、両国文化権力層が各国の伝統芸能発展にいかなる役割をはたし、それをもとに形成した伝統芸能は果たしていかなる共通点や相違点をもっているのかに関する研究が行わなければならないと考える。