현행 宗廟佾舞의 作舞法에 대한 비평 ­時用舞譜의 術語 構成體系를 중심으로

Abstract

Jongmyo Ilmu (宗廟佾舞, the ritual dance at Royal ancestral shrine) of today was choreographed in the name of Botaehwa and Hyangmannyeon during the Japanese occupation. It was made on the basis of Siyongmubo (時用舞譜) that had been handed down to Yiwangjik Aakbu (李王職雅樂部) to revive the dance of Botaepyeong and Jeongdaeeop. Siyongmubo is a hand-transcribed edition in which music was written and also dance movements were drawn in enlarged mensural notation. The music is closest to that of Sejosillokakbo (世祖實錄樂譜, music book included in the Chronicles of king Sejo). “Siyong(時用)” means “used in those days". Siyongmubo was confirmed to have been made during the Japanese occupation by a bibliographer. The dance was performed with red costumes and bokdu (幞頭) on. The pictures in Siyongmubo show that they danced in deep blue as explained in Akhakgwebeom (樂學軌範), the music book of the Chronicles of King Sejo, and Daeakhubo (大樂後譜). Through the color of the costumes worn by the dancers, we can understand that Siyongmubo shows the Royal ancestral shrine dance performed in the Joseon dynasty, and that it doesn't show the dance done during the Japanese occupation. The Royal ancestral shrine dance of today is different not only in costumes but also in the number of dance passages. Some deletions additions were made in 1930's. The dance was distorted by those who did not understand that it was originally made on the basis of yin-yang theory made from the intensive Confucian thoughts. The purpose of this study is to contribute to revive the original dance of Royal ancestral shrine through analysing and criticizing the distorted dance of today. The mathematical rules used in construction of the dance passages, properties, ways of holding a sword (a property) and moving arms with a sword in hand, and the choreographic method will be analysed and criticized.