민간사정의 궁술에 동반된 전통공연예술의 전개와 특징

The Development and Characteristics of Traditional Art Performances Accompanying Archery in Private Archery Pavilions: Focus on the Japanese Colonial Period

본 연구는 일제강점기 경향 각지의 민간사정에서 열렸던 궁술대회에 동반된 전통공연예술의 전개양상과 특징을 살피는 것이었다. 일제강점기의 민간사정에서 열린 궁술대회는 사계와 사우회등의 활쏘기 조직과 신문사의 후원을 통해서 조직화와 대중화가 실시된 행사였다. 조선후기까지 궁술행사에서 전통음악의 담당 층은 관기와 악공이었고, 이들은 관에 소속되어 특정 층을 위해 공연종목을 수행해 나갔다. 또한 대한제국기에 관기와 악공들은 면천되었지만 여전히 공, 사적인 궁술행사와 대회에서 전통예술을 담당하였다. 그러나 일제강점기에는 기생, 악공과 더불어 광대, 재인, 명창, 날탕패, 광무대 배우, 양주탈산두 14인조 등으로 참여의 폭이 확대되면서 공연종목도 다변화되었다. 조선후기까지 민간 사정의 궁술행사에 동반된 전통공연예술은 호중소리를 비롯해 영산회상의 장영산, 염불, 타령과 승전곡, 태평곡, 길군악 이었다. 그리고 대한제국기의 궁술행사는 연회, 편사, 풍류, 사회, 시사란 명칭으로 열렸는데, 노래와 춤, 기악이 수반되었다. 하지만 일제강점기에는 호중소리와 더불어 영산회상, 삼현육각, 좌창, 입창 단가, 퉁소독주 및 가야금독주, 가야금병창, 날탕패, 승무, 창작무용 등의 악ㆍ가ㆍ무와 줄타기, 개량별신, 산대놀이 등의 연희로 확산되며 이전시대보다 다양한 공연종목이 연행되었다. 뿐만 아니라 서양음악, 서커스, 마술과 같이 외국으로부터 유입된 공연종목과 한 무대에서 레퍼토리로 선정된 전통공연예술들은 주최자의 의도와 관람객의 호응도를 반영해 연행됨으로써 다양한 공연요소를 갖추고 성장하였다. 이처럼 일제강점기 궁술대회에 동반된 전통공연예술은 비록 주최 측과 주관부서의 흥행을 위해 기획되는 등 관변적인 요소가 일부 있었지만 공연 담당 층의 확대에 따라 공연종목이 확산되어 가는 양상이었다. 따라서 궁술대회에 참여한 기생, 악공, 광대, 재인, 명창, 날탕패, 광무대배우, 양주탈산두 14인조 등은 근대기 전통공연예술 종목의 확장에도 기여함으로써 근대음악사 확장에도 일조하였고, 이들이 펼쳐낸 각종 공연종목 또한 이 시기의 전통공연예술 분야의 확장에 이바지 하였다.

This study examines the developmental patterns and characteristics of traditional art performances accompanying archery contests held in private archery pavilions (sajeong) located across Korea during the Japanese Occupation. Archery contests held in private archery pavilions during the Japanese colonial period were organized and popularized by sponsorship of archery clubs and newspaper publishers. Until the late Joseon dynasty, gwangi (female government entertainers) and akgong (professional musicians) were responsible for providing traditional art performances during archery events. They were also government officials who conducted performances for a particular class. Even though gwangi and akgong were demoted to commoner status during the Korean Empire, they were still in charge of all traditional art performances in both public and private archery events and competitions. When the Japanese rule began, along with gisaeng (female entertainers) and akgong, the range of the performers broadened to include gwangdae (entertainers), jaein (common class entertainers), myeongchang (great vocalists), Naltangpae (male performers from Pyeongyang), Gwangmudae Theater performers, 14 Yangju Mask performers, and others. As a more diversified group of performers participated, the type of performances held during archery events also diversified. Until the late Joseon Dynasty, traditional art performances that accompanied archery events in private archery pavilions consisted of pieces such as Hojungsori, Yeongsang Hoesang’s Jangyeongsan, yeombul, taryeong, seungjeongok, taepyeonggok, and gilgunak. During the Korean Empire era, archery events were held under the name of yeonhoe, pyeonsa, pungnyu, sahoe, and sisa, and these events were accompanied with dance and musical performances. During the Japanese rule, the types of performances diversified into musical, vocal, and dance performances such as Hojungsori, Yeongsang hoesang, Samhyeonyukgak (performance group consisting of two piri, daegeum, haegeum, janggu, and buk), Jwachang (seated vocal performance), Ipchang danga (short group vocal performance), tungso and gayageum solo performances, gayageum byeongchang, Naltangpae, Seungmu (Buddhist dance), creative dance, and others. The performances also included acts such as tightrope walking, Gaeryangbyeolsin, Sandaenori, and others, which meant that compared to previous time periods, a more diverse type of performances took place during the Japanese rule. Moreover, foreign performance types such as Western music, circus and magic acts also entered Korea during this time. The foreign performances shared the same stage. Nevertheless, the common repertoire, traditional art performances developed with various performance elements by reflecting the intention of the organizer and audience response. The traditional art performances that accompanied archery events during the Imperial Japanese era had some government influences as they were planned to profit the organizer and the supervising department, but as the range of performers broadened, the range of the performance types also broadened as well. Therefore, the gisaeng, akgong, gwangdae, jaein, myeongchang, Naltangpae, Gwangmudae Theater performers, Yangju Mask performers, and others who performed at the archery events contributed to the expansion and development of the types of traditional art performances in modernity.