19세기 <승무(僧舞)>와 <성진무(性眞舞)> 연행 양상 연구

Abstract

This study examines the performance aspects of seungmu (僧舞) and seongjinmu (性眞 舞) performed in the 19th century Joseon Dynasty. Both were dances performed by gisaeng or dancer boy wearing clothes of Buddhist monks. The dance title seungmu stemmed from the main story of a Buddhist monk and a young gisaeng, with the monk’s deviation being a common theme. In other words, the title had nothing to do with Buddhism. Seongjinmu featured a costumed parade of dancer boys based on the story of Seongjin and eight fairies from a novel Guwoonmong (九雲夢) written by Kim Manjung (金萬重). Seongjinmu came to be regarded as a monk’s dance because the protagonist, Seongjin, was a Buddhist monk and wore monk’s clothes accordingly. That is, seungmu may be defined as a dance performed by gisaeng or dancer boy wearing clothes of Buddhist monk. In the 19th century, gisaeng wore white jangsam (白衲), a cone hat, red gasa (袈裟), and wore a Buddhist rosary of 108 beads around the neck to perform seungmu. The dancer performed holding a seokjang (monk’s staff; 錫杖). Seungmu performances focused on describing a romance between gisaeng and an old Buddhist monk. In comparison, the dancer boy wore songnak (松落) on the head and wore black jangsam to perform the monk’s dance. Boy dancers also wore a Buddhist rosary of 108 beads around the neck and held a jukjang (bamboo cane). As for the dance performed at a costume parade starring Seongjin and eight fairies from Guwoonmong, data on details of the dance were unavailable. However, the scene where Seongjin beat beopgo (Dharma Drum; 法鼓) suggests that seungmu began to incorporate beopgo in performance from around this time. This study elucidates the history of seungmu within the 1800s, pushing the choreographic origin of the contemporary seungmu back to the 19th century when it was a stage performance performed by gisaeng or dancer boy, unrelated to Buddhist characteristics.