선소리 산타령을 통해 본 잡가의 텍스트 변이와 미적 특질

Abstract

In this thesis, I tried to examine the Japga's transition of texts by stages and clear up the historical changes about the aesthetic characteristics through Seonsori Santaryeong. It is supposed to be the middle and later 19th century when Seonsori santaryeong was made up of the part of Madangsori which has a current completedstructure,'Nolyang-Apsantaryeong-Dwitsantaryeong- Jajinsantaryeong'. It was estimated from documentary records and the performance form of Sadangpae, a troupe of strolling players. The Sadangpae's repertory was developed into the advanced popular arts in urban areas through spreading among the native-born Seonsoripae in Seoul Ogang, five rivers area. Santaryeong's original text is Panyeombul. Yeombulsori which is inserted into the first part of Panyeombul, is the trace that Sadangpae was working as an entertainment group for the Siju, donation. There is no difference between the current Nolyang and Panyeombul that Yeombulsori is eliminated. It is obvious that Nolyang's lyrics were gathered from the heterogeneous genres. However, this song's poetical imagination is based on the experiential emotion. The setting of the works was established with the practical space that reflected the Sadangpae's moving route. And the feeling of poems included the inspiration and desire of ordinary men who were wandering the mountains, streams and markets. Second development of Seonsori Santaryeong was accomplished from the middle and late 19th century to the first half of the twentieth century. In this period, Apsantaryeong, Dwitsantaryeong and Jajinsantaryeong were created, therefore Santaryeong's repertory was established. At that time, Santaryeong was performed at modern public theater like Gwangmudae and recorded on the phonograph. Therefore, Santaryeong built up a modern communication system for the masses. These songs are stanza style. The characteristic of this singing style that one person lead a song and the others sing in unison, have a strong combination between Marues, climaxes. The mountains appeared in these songs are a kind of psychololgical map rather than the experiential place. The pleasure was raised with the music, made the structure of Santaryeong's lyrics beyond the semantic relations. And the lyrics were composed of the present progressive forms. However that composed world in the lyrics is a kind of illusion. We can see remarkably the aesthetics of popularity as a popular arts in this point. The last development of Seonsori Santaryeong was led from the opening of Korean Traditional Performing Arts Center in 1951. Santaryeong lost popular support and was barely kept itself in existence by the national treasury. Threrfore, in Santaryeong, the beauty of popularity like a sentiment and a voluptous beauty were disappeared and the rhetoric like a glorification and an admiration appeared. The mountains and streams symbolize the holy place where the phoenix and the swift horse gathered and exist just an object of appreciation. The setting of the lyrics can be appraised as the beauty depend on the appreciator. However, it is just a place of remains which was already lost the vitality.