『악학궤범』 ‘무룹디피舞’와의 비교를 통한 현행 처용무 ‘평진(平進)·전배(前拜)·상배(相拜)’의 무용서사 연구

Abstract

Cheoyong dance has a unique epic with dance movements, which are different from Cheoyong's myths, poems, and songs. It is necessary to analyze the unique epic of the Cheoyong dance by focusing on the meaning of dance movements. In this paper, I analyze the dance movements of contemporary Cheoyong dance, Pyeongjin(平進), Jeonbae(前排), and Sangbae(相背), in relation to those of Mureupdipi dance listed in Ak-hak-gwe-beom (樂學軌範), a synthetic music book of Chosun Dynasty The results of this study are as follows. First, the current 'Pyeongjin' in Cheoyong dance is a series of dance movements done by a dancer coming onto a stage, though not included in Ak-hak-gwe-beom. It has been yet transmitted by the statements about spiraling dance movements, which recorded as procedural rituals in Ak-hak-gwe-beom (1610) and Jeongjaemudo (1893). The epic of 'Pyeongjin' is similar to that of Mureupdipi dance explained in Ak-hak-gwe-beom. It embodies the divine beings in the secular world and the human view of the world. Second, the current 'Jeonbae' in Cheoyong dance is a kind of dance movements intended to greet the King. But it is not described by Cheoyong dance listed in Ak-hak-gwe-beom, the ritual procedures of Jeongjaemudo, and Iwangjikaakbu in 1929 during the Japanese colonial period. These movements initially appear in the 1931 records. They can be seen as what was added the explanations of preparatory movements in the Mureupdipi dance written in Ak-hak-gwe-beom. Considering the dance trend that had involved these movements, there are some possibility that dancers performed all-directional twice-repeated worshipping movements, usually done at the period of Iwangjikaakbu and shown in Tongyoung seungjeon dance. It might have served as a frame of reference. Third, the current 'facing each other' in the Cheoyong dance is a dance movement done by five-directional Cheoyongs, with which they look at and greet one another, and translate the comments of Mureupdipi dance in Ak-hak-gwe-beom. What the Mureupdipi dance in Ak-hak-gwe-beom explains is 'a dance to lift the right and left hand alternately with one of the legs lifted to match the hand movements.' However, contemporary Cheoyong dance necessitates greeting with a dancer's hands placed on the waist without any hand and leg movements. Regarding the fact that 'Mureupdipi dance' is performed at the introductory phase of the dance and requires the alternate lifting of the hands and legs, kneeling and turning the head to face one another, 'Hwajang dance' in the Song-pa-san-dae play resembles most of the dance movements thereof. While the words of song corresponding to the Mureupdipi dance in Ak-hak-gwe-beom is about phrasing the physical appearance of Cheoyong, the dancer's movements in 'Hwajang dance' are represented by a scene in which an old monk finds out and comes close to a woman. In the Song-pa-san-dae play, a scene emerges in which dancers, with gestures done in Hwajang dance, look at and wash their faces reflected in their mirrors. This scene is more similar to that of washing and mirroring one's face performed by Sejon, a heavenly ghost presiding over the invocatory rites for the starry hosts in the East sea to meet with Dang-keum-ae-ki. Accordingly, the dance movements in these two scenes commonly indicate that the divine beings initially come into and look at the human world, and go somewhere to meet women. The virtuous physical appearance of Cheoyong is worded into and sung as a song. This would mean the phrasing of Cheoyong's curious look at the world, which is also seen from the perspective of the audiences.