조선후기 궁중공연예술의 공연형태

Abstract

This research investigated the form of royal performing arts through Jeongjae, the core of performing arts in late Chosoen dynasty from standpoint of transmission, preservation, acceptance, transformation and creation centering around 「Euigwe」. First, the royal performing arts investigated in aspects of transmission and preservation can include Jeongjae like Heonseondo, Suyeonjang, Oyangseon, Pogurak, Yeonhwadae, Mugo and Abak that are transmitted from Koryo to the late Joseon. Out of Jeongjae that the royal Jeongjae in the early Joseon was restored or created, royal Jeongjae like Monggeumcheok, Hahwangeun, Hyangbal and Hakmu settled down as royal performing arts in the late Joseon. However, music together with royal Jeongjae was not only transmitted. It is inferred that generally as accompaniment music, the music named Hwangdanggyoju similar but with different Amyeong of the tune was used duplicately. Second, the royal performing arts in the late Joseon since Koryo, from the standpoint of acceptance, was not transmitted as they were, but went through lots of change. The royal culture of music declined into civil sect, or vise versa, the civil culture of music ascended up to the palace. The royal culture of music that was declined into civil sect has been transmitted centering around Gyobang located in Ju and Mok in region. On the contrary, Jeongjae that was introduced from Gyobang to the Palace developed as a genre of royal performing arts, showing the openness of royal performing arts at that time. Third, in terms of transformation, royal Jeongjae in the late Joseon was found out to be recorded in various names. It is comprehended that the change of name brought about, as Gyobang Jeongjae was accepted into palace. For example, Seonyurak was first performed in the palace in 1719 and Baeddaragi or Baldoga was generally used names in regions at that time. However, it was performed in the name of Seonyurak, as it was introduced to the palace in the 18th century. Also, Geommu was performed in the name of Geomgimu, and Heonseondo, Heonbando. The royal performing arts in the late Joseon was developed bearing various natures, interrelated deeply with Gyobang Jeongjae. Lastly, the royal performing arts in the late Joseon is markedly characterized by 'creation' of royal Jeongjae. Jeongjae, which was created by the Crown Prince Hyomyeong around Sunjo's reign, put emphasis on the external taste as well as the internal composition of the dance, reviving the national emotion. It also brought about the revival of the royal Jeongjae in Joseon dynasty that was successful in embodying the artistry unique to the nation. As such, the various patterns of the royal performing arts in the late Joseon prepare the base for understanding privately of Korean music as well as provide a good guidance for the royal performing culture in the late Joseon today.