인조 이후 나례(儺禮)의 사습(私習)과 산대도감패의 흥행 활동

Abstract

This research examines how Saseup(私習, informal practice) of Narye(儺禮, festival for welcoming chinese envoys) changed after Injo(仁祖), andhow the popularity of Sandaedogam-pae(山臺都監牌, troupes fortraditional performing arts like mask dance in Seoul, 18∼19C) becameactive. The purpose of this research lies in establishing the context, in thefield of cultural history, of how Sandaedogamgeuk(山臺都監劇, a form ofmask dance in Seoul), was formed in the basis of popular culturecirculating market places in Seoul. The first part discusses the process of change experienced byNaryedogam(儺禮都監, office of superintendency for Narye), and howPodocheong(捕盜廳, capital police) emerged as one of the primary agenciesrelated to Narye. Narye was especially marginalized after the invasion ofQing(丙子胡亂), after which Chosun became impoverished and was forcedto receive imperial envoys from Qing. Although the Uigeumbu(義禁府,Correctional Tribunal) and the Gungishi(軍器寺) had independently takencharge of duties of the Naryedogam, this tradition was abandoned and thesaid duties were assumed by Naryesaek(儺禮色), which was establishedinside Youngjup-dogam(迎接都監). Efforts to revive the Narye during thetime of Jungjo(正祖), which also boosted the role of Naryedogam as anindependent agency, aimed to strengthen the regulation of Jaein(才人) thatwere in charge of performances of Narye. This was a reflection of thedifficulties in controlling performing arts in light of the large increase inpopular demand. The second part illuminates how the informal practices of Narye becameadapted to receiving Qing envoys, stimulating its popularity both inside andoutside the capital. The performance of Narye Saseup came to be heldtraditionally outside Mohwa-guan (慕華館) or Namdae-mun(南大門),which resulted in an increased demand from the ordinary population towatch the shows. In fact, performance spaces outside Mohwa-guan andNamdae-mun morphed into important spaces for popular arts independentof Narye. Nokbun(碌磻) and the large pass outside Namdae-mun, whichwere known to be the residential area of the Sandaedogam-pae, are relatedto the establishment of such spaces. The third part investigates the increased activity on behalf of theSandaedogam-pae among ordinary citizens through the rise of NaryeSaseup as a form of entertainment around the capital. After Youngjo(英祖),whether Narye would or would not take place in reception of Qing’senvoys was decided when envoys from both nations met beforehand. Sincepreparations for Narye began even before the notification from the envoyscame, the performers gathered at Naryedogam partook in performingactivities for the public when Narye was cancelled. They were able toperform as Sandaedogam-pae, under the pre-established fame ofSandae-narye(山臺儺禮) as the most magnificent entertainment in thenation. Although Narye declined as a form of royal culture after Injo, it becameactive as a form of popular culture circulating market places for ordinarycitizens. Since the tradition of Sandae-narye was common throughoutmedieval East Asia and the tradition of mask dances was based on theself-generated folk culture, Sandaedogam-geuk can be said to have formedfrom a collision and mixture of two conflictual cultures.