판소리 적벽가中 〈적벽대전〉 분석 : 〈박봉술제 적벽대전을 중심으로〉 = Analysis of the <Battle of Red Cliff> Part of the Red Cliff Song : focusing on the PARK, Bongsul style

국문 초록 (Abstract)

하나의 음악 장르가 몇 세기를 거쳐 꾸준한 사랑을 받으며 문화예술의 혼 과 역사 로 자리 매김 하기에는 많은 시련과 변화를 필요로 하는데, 판소리는 그 고난과 역경 속에서도 굳건히 뿌리를 내려 사람들의 마음속에 명백히 만발하였다.
박봉술제 적벽가는 동편제 소리의 맥을 잇는 판소리사의 아주 중요한 요소 중 하나로, 사라져 가는 동편제 적벽가의 전승계보의 흐름 속에서도 현재까지 가장 폭넓게 전창 되고 있는 동편제 판소리이다. 그중 적벽대전 대목은 적벽가를 대표하는 눈 대목 중 하나로, 오나라 주유가 한나라 공명의 도움으로 적벽강 에서 조조의 백만 대군을 격파한다는 내용을 담고 있으며, 다른 말로는 ‘적벽화전 대목’ 또는 ‘적벽강 불 지르는 대목’으로도 불려진다.
박봉술제 적벽가를 사사한 명창으로는 박송희 · 송순섭 · 김일구 · 안숙선 등이 있으며, 그 외에도 많은 소리꾼들이 박봉술제 적벽가를 사사했고, 또 사사 중에 있다. 특히 박송희 · 송순섭 · 김일구 · 안숙선 명창은 박봉술 명창이 생존 했을 당시 직접 적벽가를 사사한 명창으로 박봉술제 적벽가를 가장 활발히 전승하고 있는 명창들로 손꼽힌다. 이에 필자는 박봉술 명창에게 직접 적벽가를 전수받은 네 명의 명창을 중심으로 박봉술제 적벽가의 적벽대전 대목에 나타는 음악적 차이를 살펴보았다.
먼저 위 명창들의 적벽가 사사시기를 살펴본 결과 1960년에서 1980년대에 박봉술제 적벽가를 사사했음을 알 수 있었고, 이들이 비교적 비슷한 시기에 박봉술제 적벽가를 사사하였음을 알 수 있었다.
다음으로 적벽대전의 대목을 사건 전개에 따른 상황묘사를 바탕으로 총 6단락으로 구분하여 살펴보았다. 화살이 날아가 문빙을 떨어뜨리는 것을 신호 로 하여 오나라의 좌우 각선 부대가 동남풍에 배를 몰아 조조의 진영에 다가가는 부분을 1단락, 오나라의 배가 조조의 배에 불을 질러 화염이 이리 저리 휘날리는 모습을 묘사한 부분을 2단락, 불에 탄 조조군의 배가 이리 저리 부서지고 가라앉는 상황을 묘사한 부분을 3단락, 조조군의 병사들이 물에 빠져 죽어가는 모습을 묘사한 부분을 4단락, 오나라의 장수 황개가 도망가는 조조를 추격하는 부분을 5단락, 조조가 말을 거꾸로 타고 도망가는 모습을 묘사한 부분을 6단락으로 하였고, 이를 바탕으로 각 명창들의 적벽대전 대목에 사용한 사설의 형태를 살펴본 결과 전체적으로 비슷한 사설 구조를 보였으나, 조조군의 배에 불을 지르는 2단락의 사설과, 조조의 군사들이 죽어가는 모습을 묘사한 4단락, 조조가 도망가는 상황을 그린 6단락의 사설에서 약간의 차이점을 보였다. 특히 6단락의 사설에서 두드러진 차이점을 보였는데, 송순섭 명창은 다른 명창들 보다 많은 양의 사설이 있음을 알 수 있었고, 박송희 · 김일구 명창은 사설의 앞 뒤 순서를 다르게 하고 있음을 알 수 있었다.
또한 장단에 붙여지는 사설의 붙임새 형태를 동일 사설을 중심으로 창자별로 차례대로 나열하여 비교 해본 결과 한 장단 안에 사설이 맞아 떨어지는 ‘대마디 대장단’ 붙임새와 자진머리 4박에서 1박의 ⅔박 이상 2박 미만을 쉬고 나오는 ‘한 박을 먹고 나오는 붙임새’ 를 주로 사용하여 부르고 있다는 점에서 붙임새의 기본 형태는 같았으나, 몇몇의 사설에 붙임새를 다르게 하였거나, 동일한 붙임새를 사용하였어도 사설이 놓이는 박자의 위치를 다르게 하여 차이를 주고 있음을 알 수 있었다.
끝으로 각 명창들이 부르는 적벽대전의 선율진행 형태를 살펴본 결과 역시 모두가 비슷한 선율구조를 보이고 있었으나, e에서 c'로 6도 상승되는 음정을 e에서 e'로 8도 상승 시킨다던지, g에서 g'로 급격히 상승되는 음을 g-a-c'-g'의 형태로 경과시켜 음정과, 음 진행에 차이를 주고 있음을 알 수 있었다.
이와 같은 차이는 창자의 학습과정과 의도에 따른 변화로 추측되며, 박봉술제 적벽가의 사사시기에 따른 객관적 학습형태의 결과로 추측된다. 현재의 판소리는 사설과 선율 면에서 정형화 되고 획일화 되어 기계적인 느낌을 주고 있는데, 이와 같은 연구로 판소리의 다양성과 변화를 밝혀 판소리를 듣고 배우는 많은 소리꾼들이 더욱더 자유롭게 판소리를 해석하고 표현하는 데에 보탬이 되었으면 한다.

목차 (Table of Contents)

• 차 례
• 국문요지····································································Ⅴ
• Ⅰ. 서론 ····································································1
• 1. 연구의 목적 ·························································1
• 2. 선행 연구의 검토 ·············································3
• 3. 연구범위와 방법 ·················································4
• Ⅱ. 박봉술제 적벽가 ·················································5
• 1. 창자별 전승계보 ··············································6
• Ⅲ. 비교 분석 ···························································9
• 1. 사설 ·······································································9
• 1)단락별 사설 구분 ············································9
• 2)창자별 사설비교 ···········································11
• 3)소결론 ·······························································17
• 2. 붙임새 ··································································18
• 1)붙임새의 용어와 개념 ··································18
• 2)붙임새의 차용 ······································23
• 3)창자별 붙임새 비교 ···································25
• 4)소결론 ··········································30
• 3. 선율 ·····································································31
• 1)비교 방법 ··························································31
• 2)창자별 선율 비교 ··········································32
• 3)소결론 ·····························································42
• Ⅳ. 결론 ······································································43
• <참고문헌 및 음원자료 >··········································45
• <부록> ····································································47
• 표 목차
• <표 - 1.> ······························································· 5
• <표 - 2.> ······························································· 9
• <표 - 3.> ······························································ 10
• <표 - 4.> ······························································ 11
• <표 - 5.> ······························································ 23
• <표 - 6.> ······························································ 25
• <표 - 7.> ······························································ 31
• 악보 목차
• <악보 1.> ·························································· 24
• <악보 2.> ·························································· 24
• <악보 3.> ·························································· 24
• <악보 4.> ·························································· 24
• <악보 5.> ·························································· 26
• <악보 6.> ·························································· 26
• <악보 7.> ·························································· 27
• <악보 8.> ·························································· 27
• <악보 9.> ·························································· 28
• <악보 10.> ·························································29
• <악보 11.> ·························································29
• <악보 12.> ·························································30
• <악보 13.> ·························································32
• <악보 14.> ·························································33
• <악보 15.> ·························································34
• <악보 16.> ·························································35
• <악보 17.> ·························································36
• <악보 18.> ·························································37
• <악보 19.> ·························································37
• <악보 20.> ·························································39
• <악보 21.> ·························································40
• <악보 22.> ·························································41