『기완별록』을 통해 본 19세기 후반 공연예술과 음악 = A Study on Performing Arts and Music in the Late 19th Century through Giwanbyeollok (紀完別錄)

다국어 초록 (Multilingual Abstract)

This study examines the specific characteristics of popular performing arts and musical practices during the reconstruction of Gyeongbokgung Palace around 1865, drawing on the Giwanbyeollok, which provides a detailed record of the performance scenes of the time. The analysis classifies the documented performances according to the attributes of Ak (music), Hui (play), and Geuk (drama), thereby identifying the performer groups involved. In addition, through reconstructive inferences regarding the musical practices within each performance type, the study attempts to present a renewed understanding of late nineteenth-century popular performing arts.
The Giwanbyeollok reveals that contemporary performances developed not only as independent genres exhibiting the characteristics of Ak, Hui, or Geuk individually, but also as composite genres in which these elements were combined. The performers active at the site included a range of popular entertainment groups, such as Mudang-pa (shaman troupes), Gwangdae-pa (entertainer troupes), Geosa-pa, court musicians, and Seonsori singers. The music they performed functioned both as incidental music supporting dramatic transitions and atmosphere in performances with the nature of Hui and Geuk, and as an autonomous genre in which Ak emerged independently. A representative example of this is ‘Sorigyeorum,’ which can be viewed within the same historical context as various Myeongchang (Master Singer) Contests held in the first half of the twentieth century.
These findings indicate that late nineteenth-century performing arts exhibited both independent and composite manifestations of Ak, Hui, and Geuk. Among these, Ak in particular moved beyond its traditional subsidiary role and developed into a standalone performance genre.