일제 강점기 처용무의 춤동작과 무용서사 비교 : 일제강점기 1929년 무보(舞譜), <조선무악(朝鮮舞樂)>(1931) 영상자료를 중심으로

Abstract

This paper took a note that the current Cheoyongmu was what was restored by the musicians during the period of Yiwangjik A-ak Society of Joseon during the Japanese occupation, and then the current Cheoyongmu was compared to the Cheoyongmu that is indicated in the literatures such as 『Akhakgwebeom』 and 『Jeongjaemudoholgi』 where the restored Cheoyongmu is found, in the Mubo dance score of the students for court music at Yiwangjik A-ak Society of Joseon in 1929 during the Japanese occupation, and in the 1931 silent image material <Joseon Muak–Yi Dynasty Classics>. As a result, it was possible to draw the following conclusions. First, the Cheoyongmu on Mubo dance score in 1929 was allegedly reproduced with reference to not only the literatures such as 『Akhakgwebeom』 and 『Jeongjaemudoholgi』 but also the form and composition of the five person royal court dance, which had already been handed down. Secondly, in 1929 Cheoyongmu, the confrontation between Cheoyong and the goddess of smallpox was expressed much shorter and more concise than the current Cheoyongmu and the meaning of praying for the king’s longevity was more abundant than the current Cheoyongmu. Third, Cheoyongmu in the 1931 video data was revised to reflect more dancing movement in the literatures such as 『Akhakgwebeom』 and 『Jeong jaemudoholgi』 than 1929. Fourth, the Cheoyongmu in 1931 had longer scenes of greeting Cheoyong on the front side as well as the left and right side, which reflected the enhanced ‘son and daughter epic’ by the choreographer to stress ‘conformity’. Fifth, the Cheoyongmu in 1931 displayed the tempo of gait succinctly in triple time while the current Cheoyongmu displayed the slower Sujecheon Jangdan in ten times with the addition of a motion of lifting and lowering one foot slightly in two times after two step walk. It can be presumed that the choreographers’ perception on Cheoyong changed from active selection to more prudent and relaxed selection in 'male and female epic' that stresses ‘selection’. Sixth, the Cheoyongmu in 1931 enhanced storytelling aspect more compared to the ‘Cheoyongmu’ in 1929 by adding ‘Samjin’, which is a three step walk in the forward direction and ‘Suyangsumu Motion 1’ that has the meaning of the contest with the geddes of smallpox. Seventh, while the current Cheoyongmu has only one time of big backward stepping scene in terms of ‘Suyangsumu Motion 1’ followed by three times of forwarding scenes, the Cheoyongmu in 1931 has three times of big backward stepping scene in terms of ‘Suyangsumu Motion 1’ revealing the enhanced ‘son and daughter epic’ to stress ‘conformity’. It can be inferred that, in comparison with the current Cheoyongmu, the image of Cheoyongmu in 1931 adheres to the traditional principle of balancing “tying and untying” in Korean dance.