‘판소리춤’으로서의 발림 분석과 창극에서 안무자의 역할 연구

Abstract

이 논문은 두가지 목표를 가지고 연구되었다. 하나는 판소리 발림을 우리의 전통춤의 유산인 판소리춤으로 규정하고 그 자세한 내용을 분석하고 무보를 작성하는 것이다. 또 하나는 20세기에 들어와서 판소리를 기반으로 무대화한 창극에서 춤이 도입되는 과정을 살펴보고, 창극 안무의 경향을 살피는 것이다. 판소리 창극을 포함한 음악극에서 안무는 그 중요성에 비하여 기록된 자료가 없다. 안무자는 있지만 안무노트는 없어서 재공연이 될 경우에도 항상 새롭게 안무하는 것이 일종의 관습이 되었다. 이같은 관습이 창극 안에서의 배우와 무용수 사이에서 이질감을 키워왔다. 창극 공연에서 안무의 기능이 어떠했는지를 살펴본 다음, 창극 <수궁가>를 통하여 새로운 안무 가능성을 살펴보려는 것이 두 번째 목표다. Ⅱ장 ‘이론적 배경’에서, 이 논의의 핵심이 되는 판소리에서 가장 기본이 되는 몸동작과 춤을 의미하는 발림의 의미를 정리하였다. 판소리를 공연하면서 보여주는 연행적 움직임을 의미하는 발림·너름새·사체 등의 용어를 발림으로 통일하고, 이를 ‘판소리춤’으로 규정하였다. Ⅲ장 ‘판소리춤으로서의 발림분석’에서는 판소리 발림의 구체적 양상을 살피보았다. 김소희 명창의 발림인식을 살펴보았다. 그리고 현재 인간문화재급 명창인 송순섭, 조통달, 안숙선, 김영자 선생의 <수궁가> 공연에 나타난 발림을 구체적으로 분석하였다. 그리고 중견소리꾼들의 발림인식을 인터뷰를 통하여 확인하였다. 이들의 판소리 공연 현장 내용을 발림으로 정리하여 무보로 제시하였다. 전체 무보는 부채로 지향하는 공간과 사물을 지목하는 판소리춤 등 19개로 요약되었다. 특히 조통달 명창의 ‘고고천변 대목을 악보-무보와 무보로 동시에 제시하여 그 활용의 형태를 제시하였다. Ⅳ. 창극에서 안무자의 역할에서는 먼저 전통창극에서 무용이 수용되는 양상을 살펴보았다. 그리고 김명곤 연출의 <수궁가> 가운데 ‘토끼와 자라 만나는 대목’의 창극춤 양상을 분석하였다. 이를 통하여 창극춤이 판소리춤에 기반을 하고 있다는 사실을 확인하였다. 이를 통하여 그동안의 창극 안무는 무용수에게 특별한 기능을 요구하지 않으면서, 단순히 무용수의 숫자로 무대를 메워 풍성함을 보여주거나, 장면을 화려하게 꾸미거나, 또는 배우들이 움직이기 힘든 긴 동선을 움직일 때 무용수들을 활용해왔던 관례를 확인하였다. 이어서 판소리 배우들이 직접 춤을 추는 아힘 프라이어 연출의 <수궁가>Mr. Rabbit and the Dragon King 의 안무장면을 분석하였다. 이 작품의 안무 정리를 통하여 창극에서 안무의 기능과, 안무전통의 변화의 모습, 그리고 새로운 가능성을 살펴보았다. <수궁가>Mr. Rabbit and the Dragon King의 안무는 기존에 있었던 창극 안무와는 일정하게 차별화되고 있다. 기본적으로 판소리춤을 토대로 하여, 창극 배우들이 충분히 소화해 낼 수 있는 동작으로 단순화하여 안무되었다. 배우들의 소리호흡과 춤호흡이 조화를 이룰 수 있게 하였으며, 배우들 각자의 다양한 소리춤을 통일시켜 안무가 전체적인 극 흐름에 직간접적인 영향을 주고, 이러한 움직임의 동질감을 통해 극이 이분화 되지 않도록 안무되었다. 또한 배우들이 노래 호흡에 맞게 춤사위와 춤 호흡을 배우는 과정에서 그들 스스로가 소리호흡과 춤호흡의 일치점을 찾아내어, 창극 속에서 안무적 의미의 정합성이 드러나게 하였다. 결론적으로 창극이 전문화되기 위해서, 판소리춤을 안무의 범주로 끌어들여 전문성으로 인식시켜야 한다는 주장을 하였다. 이와 같은 인식 아래, 창극배우들은 노래와 사설을 춤으로 형상화하는 훈련을 통하여 무용장면을 직접 소화시켜 춤을 춰야한다는 주장을 하였다. 이같은 논의의 확장 가능성을 위하여 창극 <청>과 가무악극 <몽유도원도>의 안무경향을 살펴보았다. 안무의 방향은 창극의 본질을 해치지 않으면서, 소리의 사설을 함축적 동작으로 표현하거나, 상징적 형태미로 구축해야 한다는 것이 논의의 핵심이다. 창극의 극중 장면과 무용장면이 동질화되면서 하나로 조화를 이루어내야 하는 것이 안무자의 역할이라고 주장하였다.|This thesis serves two purposes. The first goal is to define Pansori's Balim(발림) as a Pansori Dance(판소리춤) heritage, and analyze its moves and record it with a diagram. Another goal is to understand the history of choreography in Pansori art, mostly in Changgeuk form in the 20th century. It also includes the goal of analyzing the trend of Changgeuk Choreography. Although it is important factor in any musical theater including Changgeuk, it has almost no record of any sort regarding choreography. Choreographers are recorded, but there are no notes regarding to choreography, so it has become a tradition to build choreography from scratch every time a Changgeuk re-opens. These sort of traditions caused artistic dichotomy between the choreographers and the dancers. It is also the goal of the paper to seek out the role of the choreography in Changgeuk theater, and to seek a new realm of possibility for choreographers in analyzing the case of Changgeuk <Sugungga(수궁가)>.

Chapter 2, ‘Theoretical Backgrounds’, defines the practice of "Balim(발림)," the most central set of the choreography and body language in the Pansori. All the terms regarding movements in the Pansori performances, such as Balim(발림), Nureusae(너름새), Sache(사체), are standardized as the word 'balim,' and also is defined to be 'Pansori dance.'

Chapter 3, ‘Analysis of Pansori’, sees through the detailed manifestation of Pansori Balim. The paper focuses on the philosophy of Balim by Master Kim So-hee. Also analyzed were variations of Balim in <Sugungga> performances done by masters Song Soon-sup(송순섭), Jo Tong-dal(조통달), Ahn Sook-seon(안숙선), and Kim Young-ja(김영자). The interviews conducted to the younger masters about their concept of Balim is written here. Their Pansori performances in Balim were organized into choreographic score. All choreographic scores were abridged to 19 parts. Master Jo Tong-dal's 'Gogochunbyun(고고천변)' is presented in both musical and choreographic scores to represent how they were utilized.

Chapter 4 ‘Choreographer's Role in Changgeuk’, seeks to explore how the traditional Changgeuk came to incorporate choreography for their performances. <Sugungga> directed by Kim Myung-gon(김명곤), especially the 'Scene of meeting between the Rabbit and the Turtle(토끼와 자라 상봉대목)' was analyzed in choreographic terms. The theory that states Changgeuk dance has its roots in Pansori choreography is proved here. Changgeuk dances and choreographies, in Changgeuk traditions, were not demanding of the dancers any particular set of dance prowess, but rather was utilized to show abundances of the resources, or just to fill in the states with beautiful actors. Also analyzed was the case of Achim Freyer's <Mr. Rabbit and the Dragon King>, and how the choreography was functional both in keeping of the tradition and the new innovation of choreography. The choreography in <Mr. Rabbit and the Dragon King> was based on the traditional Pansori choreography, but was simplified so that each Changgeuk actors could be masters of expression. The breath and tempo between the singing and the movements were sought to express harmony, and the actors and the singers were made into a group of performers with unity in movement and time. Therefore the play had two divergent themes, of the sound and of the movement, time and space. The performers themselves sought the harmony between the two themes, becoming masters in both.

To conclude, in order for Changgeuk to be of professional quality, it is imperative that the Pansori dance was to become scripted in choreographic ways. Under such understanding, the actors and singers of Changgeuk should make efforts to recreate the singing and the narrative into the dances. For expansion of the thesis, Changgeuk <Cheong(<청)> and the musical <Dream Journey to the Peach Blossom Land(<몽유도원도)> were also reviewed with importance in understanding how choreography was dealt in both cases. The choreography should not hinder the essence of Changgeuk, and should express and amplify the effects of the music and the narrative through the movement. The role of the choreographer is to guide the path, to merge the scene and the people into one, using choreography as a tool.; This thesis serves two purposes. The first goal is to define Pansori's Balim(발림) as a Pansori Dance(판소리춤) heritage, and analyze its moves and record it with a diagram. Another goal is to understand the history of choreography in Pansori art, mostly in Changgeuk form in the 20th century. It also includes the goal of analyzing the trend of Changgeuk Choreography. Although it is important factor in any musical theater including Changgeuk, it has almost no record of any sort regarding choreography. Choreographers are recorded, but there are no notes regarding to choreography, so it has become a tradition to build choreography from scratch every time a Changgeuk re-opens. These sort of traditions caused artistic dichotomy between the choreographers and the dancers. It is also the goal of the paper to seek out the role of the choreography in Changgeuk theater, and to seek a new realm of possibility for choreographers in analyzing the case of Changgeuk <Sugungga(수궁가)>.

Chapter 2, ‘Theoretical Backgrounds’, defines the practice of "Balim(발림)," the most central set of the choreography and body language in the Pansori. All the terms regarding movements in the Pansori performances, such as Balim(발림), Nureusae(너름새), Sache(사체), are standardized as the word 'balim,' and also is defined to be 'Pansori dance.'

Chapter 3, ‘Analysis of Pansori’, sees through the detailed manifestation of Pansori Balim. The paper focuses on the philosophy of Balim by Master Kim So-hee. Also analyzed were variations of Balim in <Sugungga> performances done by masters Song Soon-sup(송순섭), Jo Tong-dal(조통달), Ahn Sook-seon(안숙선), and Kim Young-ja(김영자). The interviews conducted to the younger masters about their concept of Balim is written here. Their Pansori performances in Balim were organized into choreographic score. All choreographic scores were abridged to 19 parts. Master Jo Tong-dal's 'Gogochunbyun(고고천변)' is presented in both musical and choreographic scores to represent how they were utilized.

Chapter 4 ‘Choreographer's Role in Changgeuk’, seeks to explore how the traditional Changgeuk came to incorporate choreography for their performances. <Sugungga> directed by Kim Myung-gon(김명곤), especially the 'Scene of meeting between the Rabbit and the Turtle(토끼와 자라 상봉대목)' was analyzed in choreographic terms. The theory that states Changgeuk dance has its roots in Pansori choreography is proved here. Changgeuk dances and choreographies, in Changgeuk traditions, were not demanding of the dancers any particular set of dance prowess, but rather was utilized to show abundances of the resources, or just to fill in the states with beautiful actors. Also analyzed was the case of Achim Freyer's <Mr. Rabbit and the Dragon King>, and how the choreography was functional both in keeping of the tradition and the new innovation of choreography. The choreography in <Mr. Rabbit and the Dragon King> was based on the traditional Pansori choreography, but was simplified so that each Changgeuk actors could be masters of expression. The breath and tempo between the singing and the movements were sought to express harmony, and the actors and the singers were made into a group of performers with unity in movement and time. Therefore the play had two divergent themes, of the sound and of the movement, time and space. The performers themselves sought the harmony between the two themes, becoming masters in both.

To conclude, in order for Changgeuk to be of professional quality, it is imperative that the Pansori dance was to become scripted in choreographic ways. Under such understanding, the actors and singers of Changgeuk should make efforts to recreate the singing and the narrative into the dances. For expansion of the thesis, Changgeuk <Cheong(<청)> and the musical <Dream Journey to the Peach Blossom Land(<몽유도원도)> were also reviewed with importance in understanding how choreography was dealt in both cases. The choreography should not hinder the essence of Changgeuk, and should express and amplify the effects of the music and the narrative through the movement. The role of the choreographer is to guide the path, to merge the scene and the people into one, using choreography as a tool.