중국 청해성 납돈절(納頓節) 가면극의 역사와 연희 양상

전경욱 ( Kyung Wook Jeon ) 남도민속학회 2014 남도민속연구 Vol.29 No.-

중국 청해성 민화현 삼천 토족(土族)의 납돈절은 중국 한족으로부터 전래된 이랑신 신앙과 티베트에서 전래된 라마교 신앙이 융합된 축제이다. 납돈절에서 연행된 가면극인 <장가기(莊稼其)>·<오관(五官)>·<오장(五將)>·<삼장(三將)>·<살호장(殺虎將)>은 가면 극들의 기원, 교류양상, 영향관계 등을 잘 보여 준다. 장가기는 토족 조상들이 물과 풀을 따라 이동하는 유목생활을 거쳐 농업에 종사하는 정착 생활을 하게 된 과정을 보여 준다. 오장, 삼장은 관공(관우)을 찬양하는 가면무인데, 청나라옹정(雍正) 황제가 전국에 관공을 모시는 사당을 짓도록 명령했기 때문에 삽입된 것으로 보인다. 또는 이 지역이 옛날 군대 주둔지였기 때문에 군나(軍儺)적 전통이 계승되어, 숭무(崇武)적 내용의 가면극이 전승되고 있다는 견해도 있다. 살호장은 그 기원이 민간의 동물토템제에서 생겨난 동물의 모습을 모방한 춤이지만, 후대에 라마교 가면극인 ‘참’의 법왕(法王)의 영향으로 산왕이 소머리 가면을 착용한다. Nadunjie, a festival of Tuzu(土族) in Sancheon, Minhe county of Qinghai province in China is a combination of Irangshin religion and Lamaism. Irangshin was passed down from Hanzu of China and Lamaism was from Tibet. <ZhuangJiaQi(莊稼其)>·<WuGuan(五官)>·<WuJiang(五將)>·<SanJiang (三將)>·<ShaHuJiang(殺虎將)>, mask dances performed in Nadunjie demonstrates the origin, interchange aspects and influencing relationship of mask dances. ZhuangJiaQi shows the process of how the ancestors of Tuzu began from a nomadic life of migration following the water and grass to a settled life, engaging in agriculture. WuJiang and SanJiang are masked dances praising GuanGong (GuanYu). It seems like the dances were added due to Qing emperor YongZheng’s command to build shrines for GuanGong all over the country. There is also another view that this martial arts praising mask dances are passed down because as a former military camp, the tradition of Army``s Nuo(軍儺) ceremony remained. The origin of ShaHuJiang is a dance imitating an animal that was created from the folk rites of animal totemism. However, due to the influence of FaWang in lamaistic mask dance ‘Cham’, ShanWang wears a cow head mask in ShaHuJiang.

새 자료를 통해서 본 연희자로서의 수척과 반인

전경욱(Jeon, Kyung-Wook) 한국민속학회 2014 韓國民俗學 Vol.60 No.-

고려시대에는 북방 민족인 양수척이 있었는데, 도살ㆍ수렵ㆍ유기장ㆍ잡희 등으로 생계를 유지했으며, 기생도 이들 가운데서 나왔다. 조선시대에도 이들의 후예들이 계속 도살ㆍ수렵ㆍ유기장ㆍ잡희를 담당했다. 그래서 남한 지역의 재인들은 주로 세습무계 출신이었지만, 세습무가 없는 황해도와 평안도에서는 북방 민족인 양수척의 후예들이 재인으로 활동하고 있었다. 박은용의 논문과 『朝鮮の聚落』 中篇 구백정부락 조를 통해, 재인촌은 바로 양수척의 후예임이 드러난다. 서울에 거주하면서 본산대놀이를 하던 연희자들은 성균관의 노비인 반인이다. 이들은 서울 관청의 관노였기 때문에 서울에 거주할 수 있었다. 여러 기록들, 특히 『승정원일기』 숙종 8년(1682) 민정중(閔鼎重)의 상소는 “나라의 풍속은 (반인들이) 소 도살과 악(樂, 공연예술)으로서 삶을 영위하고 있으니”라고 하며, 반인을 전문적 연희자로 밝히고 있다. 이 기록은 『예종실록』 1년(1469) 양성지의 상소문 가운데 조선의 재인과 백정은 고려시대 양수척의 후예로서 “악기를 연주하며 노래하는 풍습과 짐승을 도살하는 일”에 종사하고 있다는 내용과 그대로 부합된다. 그래서 다양한 사람들로 구성된 반인들 가운데 재인과 백정, 즉 수척도 있었다는 사실을 전해 주면서, 반인이 서울 본산대놀이의 연희자로 활동할 수 있었던 배경을 밝혀 준다. In the Koryo dynasty, there lived a northern ethnic group called Yangsucheok. Their livelihood depended on butchery, hunting, wickerwork making and performing arts. Traditional female entertainers of Korea (Gisaeng) are also from these people. The descendants of Yangsucheok continued their work of butchery, hunting, wickerwork making and performing arts in the Joseon dynasty. Professional entertainers from South Korean region were mostly from the background of hereditary shamans. However, in Hwanghae and Pyongan province where there are no hereditary shamans, descendants of Yangsucheok worked as professional entertainers. The fact that villages of professional entertainers (Jaeinchon) are the descendants of Yansucheok can be seen in Park Eunyong’s thesis and 『朝鮮の聚落』 中篇 GuBaekJeongBuRak(舊白丁部落 條). In Seoul, entertainers who were performing bonsandae-nori and living in Seoul were government slaves or people of similar class. The people who are paid attention to in this circumstances are government slaves of Seonggyungwan, Banin. They were able to live in Seoul because they belonged to the administrative office of Seoul. Numerous records illuminate Banin as entertainers. This is shown especially on the appeal of MinJeongJoong (閔鼎重) written in 『Seungjeongwon Ilgi』 on Sukjong 8(1682), “Banin live by cow buthchery and performing arts as a traditional custom”. This record corresponds with the appeal of YangSeongJi written in 『The annals of Yejong』 on Yejong 1(1469). It is recorded that professional entertainers and butchers of Joseon are, as the descendants of Yangsucheok, working in “the custom of playing instruments while singing and butchering animals”. These records deliver the fact that among Banin that consist of various people, were professional entertainers and butchers, in other words Sucheok. They also reveal the background information of how Banin were able to participate in Seoul bonsandae-nori as professional performers.

법성포단오제의 연희성

전경욱 ( Kyung Wook Jeon ) 남도민속학회 2007 남도민속연구 Vol.14 No.-

The Beopseongpo Dano Festival has two origin theories such as Pasinanjang(an open-air seasonal fish market) and Jounnanjang(an open-air market during the shipment period). At the opening of Pasi and Jochang(national warehouse for shipment) came Palbancheonryu(the eight lowest social status groups) like Upa(a troupe of singing and dancing girls), Changgi(prostitute), Jupa(barmaid), Hwarang(the husband of a female shaman), Akgong(musician), Noeja(Chorani : an exorcist appearing in woman’s dress), Majo(Tujeon : Korean gambling), and Dosa(butcher) in the late Joseon Dynasty. Because of their undesirable influence, Jeong Yakyong put forward the claim that their free access to the area should be strictly limited. There were itinerant entertainers like Sadang, Gwangdae, Akgong, and Chorani among them. Therefore, spectacular entertaining performances might be held at the time of Pasi and Jochang. According to Shin Myeonghi``s Beobhogyeonmungi, Baekmokjeongye(a credit un ion of Beobseong Port) had paid for the Dano festivals since 1850. At each festiva l, Pansori(the traditional Korean narrative song), Jwachang(Singing at a sitting po sition), Sijo(a Korean ode), Yukjabaegi(a folk tune with six words to the line), Tta ngjaeju(tumbling), Jultagi(tightrope walking), and Geune(swing) were performed. Noted masters were selected through performances, gaining their glory. The writt en records related to the Beopseongpo Dano festivals and the informer’s testimonies at on-the-spot surveys show that the previous events included (1) Pansori, (2) Myeongchanggyeongyeondaehoi(korean traditional singing contest), (3) Gukakgyeo ngyeondaehoi(national classical music contest), (4) Gojeonmuyongdaehoi(Korean tra ditional dancing contest), (5) Nongak(farmer’s folk music), (6) Jultagi, Ttangjaeju, Beona(dish-turning trick), (7) Geunettuigi (Swinging), (8) Ssireum(korean traditiona l wrestling), (9) Juldarigi(tug of war), (10) Seonyunori(excursional boating), and (1 1) Yongwangje(a ritual for the Sea Dragon King). However, the present Dano festival doesn’t have Juldarigi, Nongakdae’s Geolip(collecting money or rice from each household by a farmer’s folk band), Shincheong(union of chaman’s husbands)’s and Namsadangpae(a troupe of strolling players)’s performances(Jultagi, Beona, and Ttangjaeju), Gojeonmuyong in which all the villagers participate, and Seonyunori. Therefore, the restoration of these performing arts is a problem awaiting solution.

기획논문 : 6.25 한국전쟁과 공연문화 ; 6.25전쟁 이후의 중,북부지역 가면극의 변화양상

전경욱 ( Kyung Wook Jeon ) 한국공연문화학회(구 한국고전희곡학회) 2011 공연문화연구 Vol.0 No.22

한국의 가면극은 대부분 세시풍속의 하나로 연행되었으며, 동제·줄다리기·지신밟기·횃불싸움·길놀이·사또놀음 등 여러 세시행사와 연계되어 전승되었다. 6.25전쟁 이후에는 이러한 세시행사와 관계없이 독립적으로 연행하기 때문에 원래의 기능과 의미를 상실하게 되었다. 또한 연행시간이 대폭 줄어들었기 때문에 연희내용, 노래, 대사를 많이 생략하고 있다. 북청사자놀이는 6.25전쟁 이후 사자춤이 한 마리에서 두 마리로 늘어났고, 애원성춤·사당춤·넉두리춤·칼춤을 새로 추가했다. 사자가 아이를 잡아먹던 내용도 토끼인형을 잡아먹는 내용으로 바뀌었다. 사자가면은 원래 여러 유형이 있었으나, 현재는 호랑이 모습의 가면으로 획일화되었다. 양주별산대놀이는 ``애사당 법고놀이``에서 먹중 8명과 왜장녀·애사당 등 모두 10명이 등장하는 것이 이치에 맞는데, 현재는 이외에 말뚝이 가면을 쓴 배역이 등장한다. 현재의 연희에서는 성(性)과 관련된 노골적인 부분을 생략하고 있다. 또한 신할아비·미얄할미과장에서 할미의 죽음 후에 예전에는 신할아비가 넋타령을 했는데, 최근에는 무당굿을 한다. 대사에서는 비속어와 육담을 대폭 생략하고 있다. 가면은 특히 연잎·옴중·샌님가면이 큰 변화를 보인다. 봉산탈춤은 6.25전쟁 이후 노장과장에서 가장 큰 변화를 보인다. 예전에는 소무가 두 명 등장했으나 현재는 한 명만 등장하고, 신장수와 원숭이의 퇴장도 차이를 보인다. 예전의 가면들은 연희자가 내다볼 수 있는 구멍을 코 양옆으로 크게 뚫었지만, 현재의 가면들은 가면의 눈동자에 구멍을 뚫어놓았다. 특히 먹중가면이 큰 변화를 보인다. 봉산탈춤을 복원할 당시에 봉산 출신의 연희자가 적었기 때문에, 다른 해서탈춤의 연희자들과 함께 연희를 복원했다. Before the Korean War, Korean mask dramas had been performed as parts of seasonal customs and had been passed down in connection with various seasonal events, such as village rites, tug of war, torch fighting, Jisinbabgi(stepping on evil spirits), Gilnori, and Sattonoreum. However, after the Korean War, the dramas were played independently regardless of those seasonal events; thus, they have lost their original functions and meanings. After the Korean War, the lion dance in the Bukcheong lion mask play included two lions (as opposed to one lion prior to the Korean War) and the Aeonesung and Sadang dances were added. The scene in which a lion eats a child changed to a lion eating a rabbit doll. Furthermore, whereas mask types used to be diverse, they are now standardized to one type of lion mask. In the Yangju Byulsandae-nori, eight monks and Waejangnye, Aesadang appeared in ``Aesadang Bubgonori``, but now the Malddugi mask character is added. Current performances omit sexually suggestive scenes. In the pre-Korean War version of the old man and old woman act, the old man sang a song to the soul of the dead woman, but now a shaman appears and performs an exorcism. In the dialogues, vulgar and sexual statements have been shortened as many audience members are women and children. Regarding the appearance of the masks, the lotus leaf, the monk with Scabies, and sannim masks have been significantly changed. Bongsantalchum has also changed, especially in the old monk act. Previously, two Somu used to appear whereas now only one appears. The scene of the shoe seller`s and the monkey`s departure is also different. Furthermore, while the former masks once had big eye holes on each side of the nose, now the masks have smaller holes on the eyes.

한국 가면극의 계통을 보는 시각 재론

전경욱(Jeon Kyung-Wook) 한국민속학회 2009 韓國民俗學 Vol.50 No.-

한국 가면극은 그 내용과 성립과정으로 보아 크게 ‘마을굿놀이 계통 가면극’과 ‘본산대놀이 계통 가면극’으로 나눌 수 있다. 마을굿놀이 계통 가면극은 자생적 가면극이다. 우리의 자생적 연희의 흔적은 이미 상고시대의 암각화와 국중대회를 통해 확인할 수 있다. 그리고 황창무, 『삼국유사』『처용랑 망해사 조의 남산신 가면무와 처용무 등 자생적 가면무도 마을굿놀이 계통 가면극의 성립에 영향을 끼쳤다. 마을굿놀이 계통 가면극들은 다른 지방의 가면극과 전혀 다른 내용을 갖고 있다. 그것은 이 가면극들이 마을굿에서 자생적으로 형성되어 발전해 왔기 때문이다. 본산대놀이는 삼국시대에 유입된 산악ㆍ백희가 통일신라시대, 고려시대, 조선시대를 거치면서 발전해, 18세기에 성균관 노비였던 반인들에 의해 성립된 것이다. 백희, 잡희, 산대희, 산대잡희라고 칭해졌던 연희는 바로 서역과 중국에서 유입된 산악ㆍ백희 계통의 연희이다. 아극돈의 『봉사도』(1725) 중 제7폭에서는 당시의 중국 사신 영접 행사에서 소형산대 앞에서 대접돌리기, 물구나무서기, 줄타기와 함께 가면을 쓴 네 사람이 춤을 추고 있는 모습을 묘사하고 있다. 그래서 이미 1725년 이전에 중국 사신 영접 행사에서 산대를 설치하고 가면희도 행했으며, 서울 근교의 가면극을 산대놀이라고 부르는 이유를 확실하게 알 수 있다. 유득공의 『경도잡지』『권1 성기 조에서는 나례도감에 속했던 연극인 야희를 소개하고 있는데, 이를 통해 18세기 중엽에 본산대놀이가 성립되어 있었거나, 성립되어 가고 있는 과정이었다는 점을 확인할 수 있다. 이는 바로 산악ㆍ백희로부터 가면극으로의 발전을 의미한다. 또 강이천의 한시 〈남성관희자〉(1789)는 이미 1778년에 지금과 같은 내용의 본산대놀이가 성립되어 있었음을 전해 준다. 본산대놀이라고 할 수 있는 서울 근교의 가면극은 애오개(아현), 사직골, 구파발, 녹번 등에 있었다. 본산대놀이의 영향 아래 서울과 경기도의 송파산대놀이ㆍ양주별산대놀이, 황해도의 봉산탈춤ㆍ강령탈춤ㆍ은율탈춤, 경남의 수영야류ㆍ동래야류ㆍ통영오광대ㆍ고성오광대ㆍ가산오광대, 남사당패의 덧뵈기 등이 생겨났다. 가면극의 많은 대목들은 독립적인 우희(優戱)의 모습을 하고 있다. 본산대놀이의 형성에는 여러 요인들이 작용했을 터이지만, 대사의 구성이나 양반과장 중 양반의 모습 등은 우희ㆍ유희의 영향을 직접적으로 보여 준다. 우희는 산악ㆍ백희의 한 종목이었다. 그러므로 산악ㆍ백희 계통의 연희가 구체적으로 어떻게 본산대놀이의 형성에 영향을 끼쳤는지를 확인할 수 있다. 그러나 마을굿놀이 계통 가면극들과 본산대놀이 계통 가면극들이 서로 독립적으로 발전해온 것으로 보이지는 않는다. 서로 끊임없이 영향을 주고받았을 것이다. 또 각 지역으로 전파된 본산대놀이 계통 가면극들도 계속 독자적 변모과정을 거쳤을 것이다. Korean mask dance dramas can be divided into two types in their contents and the processtheir formation: the maeul-gut(village ritual festival) and the sandae-nori. The maeul-gut mask dance play was a naturally generated play whose evidence can be found in rock paintings incised in rocks from the prehistoric times. The naturally generated mask dance play such as the namsan-sin mask dance drama and the cheoyong-mu(the ritual dance of a male called cheoyong) recorded in Samgukyusa(memorabilia of the Three Kingdoms) had an effect on the formation of the maeul-gut typed mask dance play, which has different contents from those of other regions in that these masks have been developed by being naturally produced from the maeul-gut. The bonsandae-nori typed mask dance dramas were handed down from the Unified Shilla period(B.C. 57~A.D. 935) to the Joseon dynasty and were completed in the 18th century by slave-class servants called banin in seonggyungwan(higher education institution). The plays dubbed ‘baekhee’, ‘japhui’, ‘sandaehui’, and ‘sandaejaphui’, were directly introduced to Korea from China and Persia. The four performers playing mask dance with other performers playing plate-spinning, stilts, and tightrope walking are illustrated on the 7th scroll of ‘the Painting on the Reception for Envoys’ describing scenes ofreception performances for Chinese envoys being entertained with various performances by the order of Ageukdon, a Chinese envoy in 1725. The mask dance dramas were already performed on the event for Chinese envoys on the small stage, so that it can be understood that the mask dance dramas performed in the vicinity of Seoul were called ‘sandae-nori’. A mask dance drama comprises several acts, each an independent farcical unit(uhui). The bonsandae-nori plays were created under the influence of various factors, but the influence of farce-uhui-and the plays mocking Confucian scholars-yuhui-was salient in the conversational pattern as well as in the description of the nobleman in the yangban scene. The uhui was one of the genres in the sanak-baekhui plays, which show how they had an effect on the creation of the bonsandae-nori. However, there is no proof that the maeul-gut typed mask dance dramas and the sandae-nori typed mask dance dramas have been developed independently. It is presumed that they have been consistently effect on each other. The bonsandae-nori spread to other regions has been constantly gone through an independent change.

힌두이즘을 바탕으로 마녀 전설을 가면극화한 발리의 < 짤론(Calon) 아랑(Arang) >

전경욱 ( Jeon Kyung-wook ) 남도민속학회 2021 남도민속연구 Vol.42 No.-

<짤론 아랑>은 현재도 발리의 마을마다 있는 힌두사원의 생일인 오달란, 쿠닝안 축제, 갈룽안 축제, 그리고 우붓 왕궁의 공연장에서 관광객을 위해 연행하는 상설공연 등 다양한 행사에서 활발하게 전승되고 있는 가면극이다. <짤론 아랑>에는 바롱, 랑다, 뗄렉, 자욱, 쁘남쁘랏, 쩨루룩, 원숭이 등의 가면 배역들이 등장한다. 그리고 가면을 쓰지 않는 배역으로 마타 게데, 랑다 휘하의 마녀들, 마하라자 에를랑가 왕, 성자 엠푸 바라다 등이 있다. 이 전설의 늙은 마녀 랑다는 악을 대표한다. 그녀는 묘지에 출몰하는 악령이나 마녀를 움직이게 하고, 마을마다 역병을 일으킨다. 마녀 랑다의 행위를 가로막는 가공의 동물은 바롱이다. 바롱은 랑다의 영술(靈術)을 타파한 성자(聖者) 엠푸 바라다가 변신한 영수(靈獸)이다. 마녀 랑다의 유래에 대해 (1) 과부 짤론 아랑이 마법 책을 읽고 명상을 했으며, 두르가 여신에게 기도하고, 두르가를 위한 의식을 거행해 미녀 랑다로 변신했다는 설, (2) 짤론 아랑이 변신한 마녀 랑다를 죽음의 여신 두르가로 보는 설이 있다. 바롱의 유래에 대해 (1) 바롱은 원래 거인 악마 ‘그데 제로 메차링’의 변신한 모습이었지만 오히려 악마들을 내쫓을 수 있는 기능을 했다는 설, (2) 두르가가 일으킨 전염병을 흩어지게 하기 위해 천상의 쉬바 신은 바롱으로, 비슈누 신은 뗄렉으로, 브라흐마 신은 자욱으로 변신해 지상으로 내려왔다는 설이 있다. 마녀 랑다는 두르가 여신에 의해 창조된 존재이다. 이는 인도신화에서 악마가 충실한 고행의 과정을 통해 신으로부터 강력한 힘을 얻고, 또 악마들이 신들의 속임수에 넘어가 타락하는 모티브와 일치한다. 결국 마녀 랑다는 신들에 의한 목적 있는 악의 창조라고 볼 수 있다. 그러므로 신과 악마를 본질적인 선과 악의 이분법으로 나누기보다는, 우주를 구성하는 상반된 세력으로 보는 힌두이즘이 <짤론 아랑>의 형성에도 작용하고 있음을 알 수 있다. < Calon Arang > is a masked dance that is still being actively passed down in various cultural events, including Odalan, the birthday of the Hindu temple present in every Bali village, Kuningan festival, Galungan festival, and the show performed for tourists inside the Ubud royal court stage. The old witch Rangda in this legend represents evil. She controls and calls into action the evil spirits that appear in graveyards and witches and she brings about plagues in villages. The fictional animal that gets in the way of the witch Rangda is Barong. Barong is an auspicious animal that Empu Baradah, a saint that overthrew Rangda’s witchcraft transformed into. There are two theories on the origin of the witch Rangda : (1) the widow Calon Arang transformed into Rangda by reading magic books, meditating, praying to the Goddess Durga, and performing rituals for Durga, (2) the witch Rangda who transformed from Calon Arang is the Goddess of death Durga. Again, two theories can be found on the origin of Barong : (1) Barong was originally a transformation of the giant demon ‘Gde Jero Mecaling’, but instead had the function of expelling demons, (2) the heavenly god Shiva transforming into Barong, god Bishnu into Telek, and god Brahma into Jauk descended on earth to disperse the plague caused by Durga. The witch Rangda is a creation of the goddess Durga. This is in accordance with the motif in Indian myth, where a demon gains powerful strength through a faithful path of penance and then being led astray after falling for gods’ tricks. The witch Rangda can be seen as a purposeful creation of evil by the gods. Thus, it can be noted that the Hindu idea of recognizing gods and demons as two conflicting forces that form the universe, rather than essentially dichotomizing them into good and evil, also affected the formation of < Calon Arang >.

새 자료 채색화 「낙성연도」를 통해 본 산희(山戱)의 실체

전경욱 ( Jeon Kyung Wook ) 고려대학교 민족문화연구원 2016 민족문화연구 Vol.73 No.-

The colored painting < Naksungyeondo > in the newfound Korean version of Jeongriuigue(整理儀軌) portrays Sanhee precisely as recorded in the article of Seonggi (聲伎). Written by Yoo Deukgong(柳得恭: 1749-1807), the article is published in the first volume of Gyeongdojabji(京都雜志). The article explains that Sanhee is a performance in which lofts are installed with silk on top and lion dance, tiger dance and Manseokjung dance are performed. In Gyeongdojabji, these performances are expressed as Sanhee because the loft-shaped Chaebung(綵棚) symbolizes Chaebungsan(綵棚山), in other words, Chaebung mountain. Looking into the colored picture < Naksungyeondo >, in order to portray Chaebung as the sacred mountain, numerous pine branches are placed on top. The reason why Manseokseungmu is depicted as “the left and right mountains Manseok dance looking as if they are playing and strolling on clouds” is because the left and right Chaebung are considered as Chaebung mountains, Chaebungsan. On the Chaebung that is located on the right of the painting, there are Nojang(old monk) in arrowroot jangsam(monk`s robe) and Gisaeng, while on the left Chaebung, the drunk Chuibaree with red face and another Gisaeng can be found. This is how Manseokseungmu is described in Gyeongdojabji. Furthermore, in Chujaegiee(秋齋紀異), Cho Susam(趙秀三: 1762-1849) introduces the performance by Takmunhan(卓文漢) and describes it as “Hwangjinhee walking around facedown and Manseokjung in jangsam dancing staggeringly.” This expression is in accordance with the Act Nojang in present mask plays, in which Nojang in jangsam also appears on the stage and staggers in the beginning. However, in Chujaegiee, Nojang and Gisaeng are pinpointed as Manseokjung and Hwangjinhee respectively. This reveals that the present act of Nojang originates from the legend of Jijokseonsa and Hwangjinhee. Accordingly, Manseokseungmu is a different performance from the puppetry, Manseokjungnori. The lion dance and the tiger dance portrayed in the colored painting < Naksungyeondo > are new forms of performances that have not yet been revealed until now.

동아시아 전통인형극 구음의 보편성과 한국적 독자성

전경욱 ( Jeon Kyung Wook ) 고려대학교 민족문화연구원 2017 민족문화연구 Vol.76 No.-

During the period of Tang dynasty, four letters of Roryulolu(魯流盧樓) from Sut ra of Nirvana(涅槃經) and Sildamjang(悉曇章) were used as a chord. Many complex changes occurred in the following generations. Roryulolu succeeded as Lalari(???) and Lilala(???) in Zen poetries and quotations by Buddhist monks of Chinese Tang and Song dynasty. This oral sound was frequently used in Zen poetries and quotations of Chinese and Japanese monks. Lalari(???) and Lariryun(???), the derived form of Lalari were called “Lari ryun, Liryunra, Lariri, Lalaryun, Laryunla, Ryunlaryun, Lalaryun, Liraryun” in puppet shows of Fujiansheng, China. Oral sounds such as “Tteiru (…)”, “Naah Ney Naina Liri Lara (…)” are recit d during the first part of Korean Kkoktugakshi Nori (puppet shows) and “Ninano Naan-Sil Ninano Nansil Nanine (…)” in the scene of Pijori. “Nurari Nurari Nuoto Toojai(東西) Toojai(東西)”, the oral sound of `Noroma Puppet` in Japanese island of Sado shows close similarity with the oral sound of Chinese Fujiansheng puppet show, Goeroehui`s `Lalari` and Korean puppet show`s `Lari Larila`. Turkish puppet show, Karagoz also utilizes the oral sound of “Yaleli yaleli Ama n aman” These oral sounds must have been recited to invite gods or to entertain the gods. In the recent years, the oral sounds are firstly used in the beginning of a play to purify the stage and cast out demons. It also functions to make puppets dance merrily around by reciting it in accordance with the puppets` movements and by leading musical instruments. It seems that the oral sounds related to `Lalari` were spread out across the worl d by wandering artist groups like Persian gypsies or Buddhist monks. Thus, Goero ehui of Chinese Fujiansheng, Kkoktugakshi Nori of Korean Namsadangpae, `Noro ma Puppet` of Japanses Sado island and Turkish shadow puppet show were all originally a puppet show of wandering artist groups and they also show similarity in the fact that they were passed down by religious performers.

동아시아의 구음 라라리(라라리)와 라리련(라리련)의 한국적 존재 양상

전경욱 ( Jeon Kyung Wook ) 고려대학교 민족문화연구원 2014 민족문화연구 Vol.64 No.-

The oral sounds of “Lalari(라라리)” and “Lariryun(라리련)” appear universally in three countries: Korea, China and Japan. “Roryulolu(魯流盧樓)” of the Sutra of Nirvana(涅槃經), was later passed on through Sildamjang(悉曇章) in the field of Buddhism with the sounds of “Lalari Rilala” and “Ririla Larila” as the center. Ririla Larila is the derivative form of Lalari Rilala. However, in drama works of the South Song era such as the “Southern Plays(南戱),” at first, oral sounds were passed on through Lalari Rilala and the derivative form Ririla Larila. Then gradually the sounds were used with a mixture of Lariryun and derived sounds such as “Rilaryun Ryunriryun.” The poems of Buddhist monks from the late Tang era and Song era, along withthe Buddhist books The Five Monks` Annotation of Diamond Sutra(金剛經五家解) and Sunmunyeomsong(禪門拈頌), uniformly show only the sounds of Lalari Rilala and the alternant Ririla Larila, but not the oral sounds of Lariryun or its derived form Riryunla Ryunriryun. However, drama works from Southern Plays of the South Song era to plays fro m the Ming and Qing eras introduced in the papers of Chinese scholars are all of a later period compared to Lalari, which is sung in the poems and quotations of Song era Buddhist monks. Thus we can see that Lalari Ririla and Rilari Lariryun th at appear in drama works from Southern Plays of the South Song era to the Ming and Qing eras all come from the Buddhist oral sounds of Lalari and Rilala. Lariryu n was mainly used as the “God of Drama” incantation of the Southern Plays and puppet shows. This can be seen in the Southern Play Uihwanghyunheeshincheongwons -amyoki(宜黃縣戱神淸源師廟記) written by Xianzu Tang and Oryunjeonbichoonghyoki( 伍倫全備忠孝記) by Jun Qiu, along with plays and puppet shows that are curren tly passed down in Fujiansheng. In this manuscript, focusing on the fact that these oral sounds are also found in various fields (Buddhist publications such as The Five Monks` Annotation of Diamond Sutra, Sunmunyeomsong from Goryeo and Joseon, poems and quotations of Buddhist monks from Goryeo and Joseon, poems and publications of literary men from Goryeo and Joseon, Goryeo folk songs, Korean annotations, novels, folk songs and puppet shows of Joseon), I look into the existing aspects of these oral sounds in Korea.

아라리 구음의 보편성과 한국적 독자성

전경욱 ( Kyung Wook Jeon ) 국제비교한국학회 2012 비교한국학 Comparative Korean Studies Vol.20 No.2

In the folk songs Arirang and Arari, the sounds related to arari are often represented as ari, arari, arasung, arirang, areurung. In other folk songs, similiar sounds appear as riruri, rilriri, rarira, rari, ratta, or rittiri. In the poem Cheongsan Byeolgok from the Goryeo Dynasty era, the sounds yalri, yalrari, yalrasung, are assumed to have originated from arari. Therefore, the sounds ari and arari trace their origins back to the Goryeo Dynasty. In a similar vein, the sounds rori, rorari, rirari, and narina appear in the shaman songs The nine celestial bodies, Gunmadaewang, and Byuldaewang of the score book Siyong Hyangakbo. Moreover, in Ggodugaksi Nori, puppet show, the sounds naina, riri, rara, ninano, and naninae are related to the sound ari, arari. The Buddhist script Bulseolmyeongdanggyeong contains the sounds arari, sarari, and ariring, whereas the Jineonjip makes use of the sounds ari, nonari, and gunari. Therefore, it is evident that sounds related to arari were first transmitted during the Goryeo Dynasty, and spread throughout the entire country. In Chinese folk songs, traditional dramas, mask dramas, and puppet shows, sounds related to Korea``s arari appear as ralri, rari, rarari, narari, rariryun, rariri, rirari, rarira, rirareung, yariri, yarira, yarirari and ariri. Sounds similar to arari also appear in Japan, Georgia, and Turkey. In China, roryuroru, from Sanskrit, and rarihoehoe, from the Won Dynasty are suggested as the origins of rari, and rariryun. It is suqqested that sounds related to arari were spread to the world by wandering troupes such as gypsi from Persia or Buddhist monks. Various documents point to the likelihood that sounds related to arari or rariryun by Gypsy or other wandering troupes were disseminated during a period stretching from the 11th to 13th centuries. When the Jeongseon Arari and the modern folk song Bonjo Arirang} were established, the sounds ari and arari were adapted and used to create a new sound: arirang.