20세기 초 승무의 형성과정 고찰 - 1900, 1910년대를 중심으로

Abstract

The Korean Empire and colonial Joseon in the early 20th century underwent a political, economic and cultural revolution, and Joseon's dance also faced a major change. The distribution of dance changed around the theater, influenced by Western performing arts, and the audience turned into an unspecified public who watched only if they paid an admission fee. In this environment, the Seungmu(僧舞 Buddhist dance) was choreographed around 1900, with gisaeng(妓生 female entertainer) of the gisaeng-association and Gwonban performing in royal banquets, gisaeng concerts, theater performances, and other public events. Aspects of Seungmu performance in 1900-1920 include the following: First, the development patterns of the Seungmu performance were already present in the mid-1900s. Second, Seungmu was primarily performed by gisaeng, either solo or as duos. Third, Seungmu was performed in various spaces, across the royal family as well as the private sector, and was a popular dance. Fourth, Seungmu was performed throughout the country. Fifth, other dances related to a monk or the Seungmu also appeared, including Sungjinmu(性眞舞), Beopgo(法鼓), Jangsammu(長衫舞), Jangsu-seungmu(長袖僧舞), Ssanggo-saseungmu(雙鼓四僧舞). Among them, Seungmu, Seongjinmu and Beopgo include the following characteristics:Seungmu was comprised of Jangsam(長衫)-play and Buk(鼓)-play, modeled after big drum and dance performances in the temple. It may have been a dance with a story-telling structure that expressed the anguish of a depraved monk. The structure of Seungmu may be fluid, and it may not have been as typical as the current Seungmu. Sungjinmu, based on the main motif of Kim Man-jung's novel Guunmong, was choreographed and performed in the 1900s. It was a dance that showed the theme of the Buddhist archipelago. Beopgo and Seungmu are distinct repertoires. Seungmu consisted of dancing and drumming, whereas Beopgo was a drumming event. The gisaeng and jaein(才人, man of talent) performed Beopgo mainly at theaters. The diversity of the Seungmu was prevalent in the 1910s, because theaters sought various box office hits against the backdrop of a changing performance environment. During the Joseon Dynasty various performances related to Buddhism or Buddhist monks were brought in, and performing artists newly created or reconstructed them in the early 20th century. The early 20th century was a time of vigorous creativity in the Seungmu.