정재 사(詞)동작의 이론적 토대 마련과 실기방안 연구 = A Study on Establishing a Theoretical Basis and a Practical Program for Movements in Jeongjae Sa

다국어 초록 (Multilingual Abstract)

This study focuses on developing a scheme of how to derive comprehensive contents from approximately fifty jeongjaes and establishing a structural practical program for the purpose of efficiently educating movements represented in jeongjaes. An integrated comparison of euigwe儀軌 jeongdaedos in GoryoSa akji 『高麗史』 「樂志」, AkhakGwebeom 『樂學軌範』, JeongjaeMudoholgi 『呈才舞圖笏記』 led to draw conclusions from an investigation of classified techniques and gaits by confining its scope to seonmo仙母 chieo致語 and symmetrical hyeopmu挾舞 changsa唱詞, as follows: The jeongjae is characterized by showing overlapped contents by the basic structure based on four cardinal points of the compass, vertical and horizontal contexts, and the interior and exterior relations, as well as by progressing uniformly. On the basis of these characteristics, there existed a clear distinction among dancers` movements to meet the requirement for the movements of sa詞 in seonmo and symmetrical hyeopmu. As far as the movements of sa are concerned, seonmo holds up the left hand instead of right one, while symmetrical hyeopmu the exterior foot instead of the interior one. When it comes to foot movements in sa, seonmo raised the left foot instead of the right one, whereas symmetrical hyeopmu the exterior foot instead of the interior one. What is of much significance from the perspective of implementation may be the problems of which hand, the right or the left, and which hand, the interior or the exterior, a dancer has to use and on what standards. A close investigation of this matter indicates that seonmo takes the right or the left hand centering around the posture of the dancer herself, while symmetrical hyeopmu the interior instead the exterior hand centering around the dance herself or on the bassis of the center of the stage. Techniques and gaits in jeongjae sa represent different orders of progression with dancers, and dancers perform incongruous movements when seomo and symmetrical hyeopmu are played at the same time. What is important above all is that these sa movemnts are applied to all jeongjaes in common.

참고문헌 (Reference)

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