This paper is on the synthesized study of the theatrical characteristics of Pyung-Taek-Nong-Ak. In 1945 before and after the freedom from Japanese imperialism, groups such as Nam-Sa-Dang-Pae, Doo-Rae-Pae, and other Gul-Lip-Pae groups existed in Gyung-Ki and Chung-Chung regions. Among the groups of players, two members named Lee, Dol-Chun and Choi, Eun-Chang of Nam-Sa-Dang-Pae group were historically known to be the key people. Pyung-Taek-Nong-Ak was passed on by these two people and had been selected as the national intangible cultural heritage of 11-2 and became one of today’s representative Nong-Aks in Korea (known as Korean traditional music for farmers). The concept of the ‘theatrical study’ discussed in this research was mentioned in King Ko-Kook Won’s (Old king of Ko-Ku-Rye) “Haeng-Ryul-Do”, 『Se-Jong-Sil-Lok ㆍ O-Ryae Weui』 which were used as the traditional references, and also by the current references of scholars such as Shim Woo-Sung, Suh Yeon-Ho, Kim Jae-Chul, Rye Yoo-Jung, and etc who specialized in the theatrical studies. Based on these studies, the writer of this paper defined ‘theatrical’ as the composition of musical, singing, dancing, acting, acrobatics, and arts. This study mainly discussed on the comprehensive perspectives of Pyung-Taek-Nong-Ak. The purpose of this research is to contemplate and deeply study the theatrical viewpoints of the Pyung-Taek-Nong-Ak, and to ...
This paper is on the synthesized study of the theatrical characteristics of Pyung-Taek-Nong-Ak. In 1945 before and after the freedom from Japanese imperialism, groups such as Nam-Sa-Dang-Pae, Doo-Rae-Pae, and other Gul-Lip-Pae groups existed in Gyung-Ki and Chung-Chung regions. Among the groups of players, two members named Lee, Dol-Chun and Choi, Eun-Chang of Nam-Sa-Dang-Pae group were historically known to be the key people. Pyung-Taek-Nong-Ak was passed on by these two people and had been selected as the national intangible cultural heritage of 11-2 and became one of today’s representative Nong-Aks in Korea (known as Korean traditional music for farmers). The concept of the ‘theatrical study’ discussed in this research was mentioned in King Ko-Kook Won’s (Old king of Ko-Ku-Rye) “Haeng-Ryul-Do”, 『Se-Jong-Sil-Lok ㆍ O-Ryae Weui』 which were used as the traditional references, and also by the current references of scholars such as Shim Woo-Sung, Suh Yeon-Ho, Kim Jae-Chul, Rye Yoo-Jung, and etc who specialized in the theatrical studies. Based on these studies, the writer of this paper defined ‘theatrical’ as the composition of musical, singing, dancing, acting, acrobatics, and arts. This study mainly discussed on the comprehensive perspectives of Pyung-Taek-Nong-Ak. The purpose of this research is to contemplate and deeply study the theatrical viewpoints of the Pyung-Taek-Nong-Ak, and to value the Pung-Mul-Nol-Yi independently from other 6 types of Nam-Sa-Dang-Pae where it was originated from, and to create and develop its own values but also keeping its origins. In the past, there were some researches on Pyung-Taek-Nong-Ak which focused on variety of facts, but there were no existing studies which focused mainly on the components of musical, dancing, acting, acrobatic, plays, and ritualistic altogether. Therefore, the writer of this paper researched by comparing and contrasting the 5 types of national intangible cultural heritage (Pyung-Taek-Nong- Ak, Jin-Ju and Sam-Cheon-Po-Nong-Ak, Yi-Ree-Nong-Ak, Kang-Reung-Nong-Ak, Pil-Bong-Nong -Ak) in the theatrical point of views as objectives were evaluated. Furthermore, it was researched by finding its own characteristics and the discriminators from other types, and also revealing its potential challenges in the theatrical point of views. The results of the theatrical researches are as follows. First of all, the Pyung-Taek-Nong-Ak and Jin-Ju, Sam-Cheon-Po-Nong-Ak were influenced by the ‘Nam-Sa-Dang-Pae’ and ‘Sot-Ddae-Jaeng-Yi-Pae’ showing similar traits as Sang-Swei’s Jong-Yi-Bu-Po-Nol-Yi, and Chae-Sang-Nol-Yi of Bub-Go-Jaeb-Yi. These characteristics are both the acrobatic and artistic components, and they show the dynamics of development. In the second, the musical component of Pyung-Taek-Nong-Ak shows that it is associated with the rhythms of 10 beats to 6 beats of ‘Jjuck-Jjuck-Yi-goot-Ga-Rack’ (Yeon-San-Duh-drae-Ki, Yeon-Pung-Dae-Jang- Dan)’, ‘Chil-Chae-Jang-Dan’, ‘Jwa-Woo-Chi-Ki-Jang-Dan’, and ‘Ma-Dang-Il -Chae’ rhythms. Then it transforms to Jjuck-Jjuck-Yi (Ja-Jin-Sam-Chae) rhythm, and it is said to be the main characteristic among all the rhythms. There are other features such as the strong and fast beats of the Swei melody (Swei-Ga-Rack), and also joyful and well mixed rhythms with variety of transformations between are other characteristics of musical component. Moreover, the rhythmic compositions of Pan-Goot are composed of total 14 types, and they are divided into and played in three kinds of rhythms. In the third, there are dancing features associated with Pyung-Taek-Nong-Ak. The ‘Swei-Bal-Lim’ of the leading play (Sang-Swei) and ‘Ggae-Ggae-Ki-Choom’, ‘Jjick-Eum-Nol-Yi’, ‘Kwei-Ja-Nal-Gae-Choom’ of Moo-Dong, and Monkey Dance of Sa-Mi is extraordinary characteristics. The Sang-Mu-Nol-Yi and other dance motions of Bub-Go-Jaeb-Yi not only focus on playing the small drums but also focus on the dancing moves. Especially, the technics and dances of ‘Yang-Sang’, ‘Sot-Um-Bub-Go’ is excellent and very active. Furthermore, the dancing steps change as the dance progress in the order from ‘One-steps’, ‘Two-steps,’ ‘Ggae-ggae-Ki steps’, ‘Side running’, ‘Dol-Sa-Wei’, ‘Gool-Shin’, and ‘Yeon-Pung-Dae’, respectively. The similarity of these steps is that they all involve the steps called ‘Won-Jwa-Woo-Chi-Ki’, ‘Hab-Dong-Jwa-Woo-Chi-Ki’. Among the dance motions, ‘Jjuck-Jjuck-Yi dance’, ‘Jjick-Eum-Nol-Yi (planting dance)’are the special features. In the fourth, there are also bottle formation characteristics of Pyung-Taek-Nong-Ak. It is composed of total 11 kinds of theatrical progression, showing variety in its own characteristics. The extraordinary part is that there is individualized dancing section at the end of the play. The bottle formation is composed of ‘Dol-Lim-Bub -Go-Jin’ of ‘One -Jin’ and ‘Two-One-Jin, and ‘Dang-San-Bul-Lim-Jin’ of ㄷ shape, ‘Oh-Bang-Jin’, which is the motion of building and un-building of east, west, south, north, and the centers of Jin, and ‘Sa-Tong-Baek-Yi-Jin’ of Sa-Bang-Jin, ‘Hab-Dong-Jwa-Woo-Chi-Ki-Jin’ of O-Yeul-Jong-Dae-Jin. In the fifth, there are acting components involved. They are associated with Dol-Sa-Wei, Yang-Da-Ri-Sa Wei, Rainbow Sa-Wei, Yang-Jwa-Woo-Chi-Ki, Ddae-Ril-Sa-Wei, Jung-Bong-San-Sung-Mae-baat-Nun- Sa-Wei, Dun-Jil-Sa-Wei of Buh-Na-Nol-Yi, and giving and taking of ‘jokes’ between the players are the special characteristics of the acting components. In the sixth, Pyung-Taek-Nong-Ak is composed of ‘Moo-Dong-Nol-Yi’, and ‘Buh-Na-Nol-Yi’, which brings attention of the acrobatic characteristics. Other special features of acrobatics are ‘Dong-Guh-Ri’, ‘Ap-Dwei-Gon-Dewi’, ‘Man-Kyung-Chang-Pa-Dot-Dae-Sa-Wei’, ‘Meo-Ri-Wei-Dun -Jil-Sa-Wei’, ‘Gock-Ma-Dan(5 Mu-Dong)’, and etc. In the seventh, there are religious ceremony features. One section focuses on the beat called ‘Gul-Rib-Goot’. Other sections are composed of 2 forms of beat called ‘Gul-Rib-Goot’ and ‘Ma-Eul-Nong-Ak- Goot’. The special features of these are that they are all associated with ‘Go-Sa-So-Ri’ which is brought by Ji-Shin-Balb-Ki, Nan-Jang-Goot, Pa-Il-Nan-Jang-Goot, Jeul-Gul-Lip-Goot, Chon-Gul-Lip-Goot, and etc. In the eight, there are also amusements involved in the Pyung-Taek-Nong-Ak. There are Bub-Go-Nol-Yi, Sang-Swei-Nol-Yi, Seol-Jang -Go-Nol-Yi, Buh-Na-Nol-Yi, Mu-Dong-Nol-Yi, 12 feet Chae-Sang-Nol-Yi, and etc, which are freely played in the performance. Before the play ends completely, the individual performances are showed, and it is the climax of the whole performance. There are also special features involved called ‘Dae-Dong-Nol-Yi-Paan’ where the players and the audience get engaged and dance together in the performance. In conclusion, Pyung-Taek-Nong-Ak is composed of musical, singing, dancing, acting, acrobatics, and arts which altogether can be considered as the ‘theatrical comprehensiveness’. In the Pyung-Taek-Nong-Ak, ‘Ga- Sae-Bul-Lim’ was misplaced in the year of 1986, and ‘Sul-Jang-Go’, ‘Buh-Na-Nol-Yi’ were added in 2002. ‘Man-Kyung-Chang-Pa-Dot-Dae-Sa-Wei (Ki-Ruh-Ki-Sa-Wei)’, ‘Ahp-Dwei-Gon-Dwei’, ‘Meo-Ri-Wei-Dun-Jil-Sa-Wei’ were reappeared in the Mu-Dong-Nol-Yi. Furthermore, ‘Ga-Sae-Bul-Lim’, Son-Ba-Dak-Dun-Jil-Sa-Wei’, ‘Hwei-Cho-Ri-Sa-Wei’ are the future theatrical fields that can be further researched in Pyung-Taek-Nong-Ak. The professional theatrical features of acrobatics and arts should be further focused and developed more deeply. In addition, more studies and efforts of inspiring Korean traditional consciousness of our own cultures are also necessary in the future.본고에서는 「평택농악」의 연희적 성격에 대해 종합적으로 연구하였다. 1945년을 기준으로 그 즈음, 해방 전후부터 경기ㆍ충청지역은 남사당패, 두레패, 등 걸립패들이 활동하고 있었고, 남사당패에 속하던 이돌천, 최은창은 현존기록에 남아있는 중요인물들이라고 할 수 있다. 이들에 의해 전승된 평택농악은 중요무형문화재11-2호로 지정되어 오늘에 이르는 한반도의 대표적 농악 중 하나이다. 본고에서 논하고자 하는 ‘연희’의 개념은 고전 자료로서는, 고구려 고국원왕의 ‘행렬도’, 『세종실록ㆍ오례의』 등에서 보이며, 현대에서는 심우성, 서연호, 김재철, 여유정, 등 연희학을 전문한 학자들에 의해 다양하게 정의 되어 왔다. 이에 따라 논자는 연희란 악ㆍ가ㆍ무ㆍ극ㆍ기ㆍ예(樂ㆍ歌ㆍ舞ㆍ劇ㆍ技ㆍ藝)의 놀이를 연행하는 것을 총칭하여 ‘연희’라 정의하며, 평택농악을 종합적 관점에서 논하였다. 연구의 목적은 평택농악을 연희적 관점으로 고찰하여, 유랑전문예인집단 남사당패놀이 6종류 중 자리매김 되었던 풍물놀이를 독립적 성격의 연희로서 조명하여, 법고창신(法古創新) 하려는 데에 있다. 평택농악과 관련된 기존 연구 성과는 비교적 다양하게 이루어져 있으나 종합적인 연희연행방식을 종목별 세분화하여 음악적, 무용적, 연극적, 기예(곡예)적, 놀이적, 제의적 요소를 종합적으로 정리한 것은 없다. 이에 논자는 평택농악을 객관적으로 조감한다는 입장에서 연희학(學)적으로 세부분석 연구하고, 5종(평택농악, 진주ㆍ삼천포농악, 이리농악, 강릉농악, 필봉농악)의 중요무형문화재 농악 비교를 통해 평택농악의 변별성과 특성을 찾아내고, 평택농악의 변화 양상에 대해 연희학적 관점에서 포괄적인 연구를 하였다. 평택농악의 연희학(學)적 연구결과는 다음과 같다. 첫째, 평택농악과 진주ㆍ삼천포농악은 ‘남사당패’와 ‘솟대쟁이패’의 영향을 받아, 상쇠의 종이부포놀이와 법고잽이의 채상놀이가 유사하고, 기ㆍ예 적이며, 역동적인 진법전개를 보이고 있다. 둘째, 음악적요소에서 평택농악의 가락은 ‘쩍쩍이굿춤가락(영산더드래기, 연풍대장단)’, ‘칠채장단’, ‘좌우치기장단’, ‘마당일채’의 10박에서 6박으로 친 다음 쩍쩍이(자진삼채)장단으로 넘어가는 변이가 특징이며, 쇠가락이 빠르고 힘차며, 경쾌한 리듬감과 암ㆍ숫가락의 조화와 장단의 변화가 다양하고, 시종(始終)이 분명하다. 판굿 장단 구성은 14종류이며, 세 형태 흐름의 장단으로 연희된다. 셋째, 무용적요소에서 평택농악은 상쇠의 ‘쇠발림’과 무동의 ‘깨끼춤’, ‘찍금놀이’, ‘쾌자날개춤’과 사미의 ‘원숭이춤’이 독특하며, 법고잽이의 상모놀이와 춤사위는 소고를 치는데 중점을 두지 않고 춤에 치중한다. 특히 ‘양상’, ‘솟음법고’의 기교와 춤사위가 뛰어나고 역동적이다. 또한 진법전체적인 발동작에 있어서 ‘한번걷기’, ‘두번걷기’, ‘깨끼걸음’, ‘옆뛰기’, ‘돌사위’, ‘굴신’, ‘연풍대’로 전개되는데, 공통적인 발동작에 ‘원좌우치기’, ‘합동좌우치기’가 독창적이며, 춤사위는 ‘쩍쩍이춤’, ‘찍금놀이(모심기춤)’가 독특하다. 넷째, 진법적요소에서 평택농악은 11가지 종류의 연희진행으로 비교적 다양하며 진풀이 후 개인놀이가 주목 된다. 평택농악의 진법적 요소는 ‘원진’, 두 원진의 ‘돌림법고진’, ㄷ자형태의 ‘당산벌림진’, 동ㆍ서ㆍ남ㆍ북ㆍ중앙의 진을 쌓다 풀었다하는 ‘오방진’, 사방진의 ‘사통백이진’, 오열종대진의 ‘합동좌우치기진’으로 다양하다. 다섯째, 연극적요소에서 평택농악은 버나놀이의 돌사위, 양다리사위, 무지개사위, 양좌우치기, 때릴사위, 정봉산성매받는사위, 던질사위, 주고받는 사위와 ‘재담’이 특징이다. 여섯째, 기예적요소에서 평택농악은 ‘무동놀이’와 ‘버나놀이’가 있어 기예적인요소가 주목된다고 할 수 있고, ‘동거리’, ‘앞뒤곤두’, ‘만경창파돛대사위’, ‘머리위던질사위’, ‘곡마단(5무동)’ 등이 독창적이다. 일곱째, 제의적요소에서 평택농악은 ‘걸립굿’에 치중 한 굿의 형태이고, 걸립굿과 마을농악굿 2가지 형태이며, 지신밟기, 난장굿, 파일난장굿, 절걸립굿, 촌걸립굿, 등에 연행되는 ‘고사소리’가 특징이다. 여덟째, 놀이적요소에서 평택농악은 법고놀이, 상쇠놀이, 설장고놀이, 버나놀이, 무동놀이, 12발 채상놀이 등이 자유분방하게 연희되는데, 판을 끝내기 전 최대한의 진가를 보여주는 ‘개인놀이판’이 연행되며, 연희자들과 관중이 함께 어울리는 ‘대동놀이판’이 특색이다. 결론적으로 평택농악은 악ㆍ가ㆍ무ㆍ극ㆍ기ㆍ예(樂ㆍ歌ㆍ舞ㆍ劇ㆍ技ㆍ藝)적인 요소를 모두 갖춘 ‘종합적 연희’라 할 수 있다. 이밖에 평택농악의 판재 중, 1986년경 ‘가새벌림’이 있었으나 없어졌고, 2002년 이후 ‘설장고’, ‘버나놀이’가 가미되었으며, 무동놀이 중 ‘만경창파돛대사위(기러기사위)’, ‘앞뒤곤두’, ‘머리위던질사위’, 등이 재현되었다. 이와 더불어 평택농악에 있어서 연구 재현 될 종목은 ‘가새벌림’, ‘손바닥던질사위’, ‘회초리사위’, 등이라고 본다. 앞으로 유랑전문연희패의 기ㆍ예가 재현ㆍ전승ㆍ발전 되고, 민속사회문화 의식을 고취하는 노력이 필요하다고 본다.
This paper is on the synthesized study of the theatrical characteristics of Pyung-Taek-Nong-Ak. In 1945 before and after the freedom from Japanese imperialism, groups such as Nam-Sa-Dang-Pae, Doo-Rae-Pae, and other Gul-Lip-Pae groups existed in Gyung-Ki and Chung-Chung regions. Among the groups of players, two members named Lee, Dol-Chun and Choi, Eun-Chang of Nam-Sa-Dang-Pae group were historically known to be the key people. Pyung-Taek-Nong-Ak was passed on by these two people and had been selected as the national intangible cultural heritage of 11-2 and became one of today’s representative Nong-Aks in Korea (known as Korean traditional music for farmers). The concept of the ‘theatrical study’ discussed in this research was mentioned in King Ko-Kook Won’s (Old king of Ko-Ku-Rye) “Haeng-Ryul-Do”, 『Se-Jong-Sil-Lok ㆍ O-Ryae Weui』 which were used as the traditional references, and also by the current references of scholars such as Shim Woo-Sung, Suh Yeon-Ho, Kim Jae-Chul, Rye Yoo-Jung, and etc who specialized in the theatrical studies. Based on these studies, the writer of this paper defined ‘theatrical’ as the composition of musical, singing, dancing, acting, acrobatics, and arts. This study mainly discussed on the comprehensive perspectives of Pyung-Taek-Nong-Ak. The purpose of this research is to contemplate and deeply study the theatrical viewpoints of the Pyung-Taek-Nong-Ak, and to value the Pung-Mul-Nol-Yi independently from other 6 types of Nam-Sa-Dang-Pae where it was originated from, and to create and develop its own values but also keeping its origins. In the past, there were some researches on Pyung-Taek-Nong-Ak which focused on variety of facts, but there were no existing studies which focused mainly on the components of musical, dancing, acting, acrobatic, plays, and ritualistic altogether. Therefore, the writer of this paper researched by comparing and contrasting the 5 types of national intangible cultural heritage (Pyung-Taek-Nong- Ak, Jin-Ju and Sam-Cheon-Po-Nong-Ak, Yi-Ree-Nong-Ak, Kang-Reung-Nong-Ak, Pil-Bong-Nong -Ak) in the theatrical point of views as objectives were evaluated. Furthermore, it was researched by finding its own characteristics and the discriminators from other types, and also revealing its potential challenges in the theatrical point of views. The results of the theatrical researches are as follows. First of all, the Pyung-Taek-Nong-Ak and Jin-Ju, Sam-Cheon-Po-Nong-Ak were influenced by the ‘Nam-Sa-Dang-Pae’ and ‘Sot-Ddae-Jaeng-Yi-Pae’ showing similar traits as Sang-Swei’s Jong-Yi-Bu-Po-Nol-Yi, and Chae-Sang-Nol-Yi of Bub-Go-Jaeb-Yi. These characteristics are both the acrobatic and artistic components, and they show the dynamics of development. In the second, the musical component of Pyung-Taek-Nong-Ak shows that it is associated with the rhythms of 10 beats to 6 beats of ‘Jjuck-Jjuck-Yi-goot-Ga-Rack’ (Yeon-San-Duh-drae-Ki, Yeon-Pung-Dae-Jang- Dan)’, ‘Chil-Chae-Jang-Dan’, ‘Jwa-Woo-Chi-Ki-Jang-Dan’, and ‘Ma-Dang-Il -Chae’ rhythms. Then it transforms to Jjuck-Jjuck-Yi (Ja-Jin-Sam-Chae) rhythm, and it is said to be the main characteristic among all the rhythms. There are other features such as the strong and fast beats of the Swei melody (Swei-Ga-Rack), and also joyful and well mixed rhythms with variety of transformations between are other characteristics of musical component. Moreover, the rhythmic compositions of Pan-Goot are composed of total 14 types, and they are divided into and played in three kinds of rhythms. In the third, there are dancing features associated with Pyung-Taek-Nong-Ak. The ‘Swei-Bal-Lim’ of the leading play (Sang-Swei) and ‘Ggae-Ggae-Ki-Choom’, ‘Jjick-Eum-Nol-Yi’, ‘Kwei-Ja-Nal-Gae-Choom’ of Moo-Dong, and Monkey Dance of Sa-Mi is extraordinary characteristics. The Sang-Mu-Nol-Yi and other dance motions of Bub-Go-Jaeb-Yi not only focus on playing the small drums but also focus on the dancing moves. Especially, the technics and dances of ‘Yang-Sang’, ‘Sot-Um-Bub-Go’ is excellent and very active. Furthermore, the dancing steps change as the dance progress in the order from ‘One-steps’, ‘Two-steps,’ ‘Ggae-ggae-Ki steps’, ‘Side running’, ‘Dol-Sa-Wei’, ‘Gool-Shin’, and ‘Yeon-Pung-Dae’, respectively. The similarity of these steps is that they all involve the steps called ‘Won-Jwa-Woo-Chi-Ki’, ‘Hab-Dong-Jwa-Woo-Chi-Ki’. Among the dance motions, ‘Jjuck-Jjuck-Yi dance’, ‘Jjick-Eum-Nol-Yi (planting dance)’are the special features. In the fourth, there are also bottle formation characteristics of Pyung-Taek-Nong-Ak. It is composed of total 11 kinds of theatrical progression, showing variety in its own characteristics. The extraordinary part is that there is individualized dancing section at the end of the play. The bottle formation is composed of ‘Dol-Lim-Bub -Go-Jin’ of ‘One -Jin’ and ‘Two-One-Jin, and ‘Dang-San-Bul-Lim-Jin’ of ㄷ shape, ‘Oh-Bang-Jin’, which is the motion of building and un-building of east, west, south, north, and the centers of Jin, and ‘Sa-Tong-Baek-Yi-Jin’ of Sa-Bang-Jin, ‘Hab-Dong-Jwa-Woo-Chi-Ki-Jin’ of O-Yeul-Jong-Dae-Jin. In the fifth, there are acting components involved. They are associated with Dol-Sa-Wei, Yang-Da-Ri-Sa Wei, Rainbow Sa-Wei, Yang-Jwa-Woo-Chi-Ki, Ddae-Ril-Sa-Wei, Jung-Bong-San-Sung-Mae-baat-Nun- Sa-Wei, Dun-Jil-Sa-Wei of Buh-Na-Nol-Yi, and giving and taking of ‘jokes’ between the players are the special characteristics of the acting components. In the sixth, Pyung-Taek-Nong-Ak is composed of ‘Moo-Dong-Nol-Yi’, and ‘Buh-Na-Nol-Yi’, which brings attention of the acrobatic characteristics. Other special features of acrobatics are ‘Dong-Guh-Ri’, ‘Ap-Dwei-Gon-Dewi’, ‘Man-Kyung-Chang-Pa-Dot-Dae-Sa-Wei’, ‘Meo-Ri-Wei-Dun -Jil-Sa-Wei’, ‘Gock-Ma-Dan(5 Mu-Dong)’, and etc. In the seventh, there are religious ceremony features. One section focuses on the beat called ‘Gul-Rib-Goot’. Other sections are composed of 2 forms of beat called ‘Gul-Rib-Goot’ and ‘Ma-Eul-Nong-Ak- Goot’. The special features of these are that they are all associated with ‘Go-Sa-So-Ri’ which is brought by Ji-Shin-Balb-Ki, Nan-Jang-Goot, Pa-Il-Nan-Jang-Goot, Jeul-Gul-Lip-Goot, Chon-Gul-Lip-Goot, and etc. In the eight, there are also amusements involved in the Pyung-Taek-Nong-Ak. There are Bub-Go-Nol-Yi, Sang-Swei-Nol-Yi, Seol-Jang -Go-Nol-Yi, Buh-Na-Nol-Yi, Mu-Dong-Nol-Yi, 12 feet Chae-Sang-Nol-Yi, and etc, which are freely played in the performance. Before the play ends completely, the individual performances are showed, and it is the climax of the whole performance. There are also special features involved called ‘Dae-Dong-Nol-Yi-Paan’ where the players and the audience get engaged and dance together in the performance. In conclusion, Pyung-Taek-Nong-Ak is composed of musical, singing, dancing, acting, acrobatics, and arts which altogether can be considered as the ‘theatrical comprehensiveness’. In the Pyung-Taek-Nong-Ak, ‘Ga- Sae-Bul-Lim’ was misplaced in the year of 1986, and ‘Sul-Jang-Go’, ‘Buh-Na-Nol-Yi’ were added in 2002. ‘Man-Kyung-Chang-Pa-Dot-Dae-Sa-Wei (Ki-Ruh-Ki-Sa-Wei)’, ‘Ahp-Dwei-Gon-Dwei’, ‘Meo-Ri-Wei-Dun-Jil-Sa-Wei’ were reappeared in the Mu-Dong-Nol-Yi. Furthermore, ‘Ga-Sae-Bul-Lim’, Son-Ba-Dak-Dun-Jil-Sa-Wei’, ‘Hwei-Cho-Ri-Sa-Wei’ are the future theatrical fields that can be further researched in Pyung-Taek-Nong-Ak. The professional theatrical features of acrobatics and arts should be further focused and developed more deeply. In addition, more studies and efforts of inspiring Korean traditional consciousness of our own cultures are also necessary in the future.본고에서는 「평택농악」의 연희적 성격에 대해 종합적으로 연구하였다. 1945년을 기준으로 그 즈음, 해방 전후부터 경기ㆍ충청지역은 남사당패, 두레패, 등 걸립패들이 활동하고 있었고, 남사당패에 속하던 이돌천, 최은창은 현존기록에 남아있는 중요인물들이라고 할 수 있다. 이들에 의해 전승된 평택농악은 중요무형문화재11-2호로 지정되어 오늘에 이르는 한반도의 대표적 농악 중 하나이다. 본고에서 논하고자 하는 ‘연희’의 개념은 고전 자료로서는, 고구려 고국원왕의 ‘행렬도’, 『세종실록ㆍ오례의』 등에서 보이며, 현대에서는 심우성, 서연호, 김재철, 여유정, 등 연희학을 전문한 학자들에 의해 다양하게 정의 되어 왔다. 이에 따라 논자는 연희란 악ㆍ가ㆍ무ㆍ극ㆍ기ㆍ예(樂ㆍ歌ㆍ舞ㆍ劇ㆍ技ㆍ藝)의 놀이를 연행하는 것을 총칭하여 ‘연희’라 정의하며, 평택농악을 종합적 관점에서 논하였다. 연구의 목적은 평택농악을 연희적 관점으로 고찰하여, 유랑전문예인집단 남사당패놀이 6종류 중 자리매김 되었던 풍물놀이를 독립적 성격의 연희로서 조명하여, 법고창신(法古創新) 하려는 데에 있다. 평택농악과 관련된 기존 연구 성과는 비교적 다양하게 이루어져 있으나 종합적인 연희연행방식을 종목별 세분화하여 음악적, 무용적, 연극적, 기예(곡예)적, 놀이적, 제의적 요소를 종합적으로 정리한 것은 없다. 이에 논자는 평택농악을 객관적으로 조감한다는 입장에서 연희학(學)적으로 세부분석 연구하고, 5종(평택농악, 진주ㆍ삼천포농악, 이리농악, 강릉농악, 필봉농악)의 중요무형문화재 농악 비교를 통해 평택농악의 변별성과 특성을 찾아내고, 평택농악의 변화 양상에 대해 연희학적 관점에서 포괄적인 연구를 하였다. 평택농악의 연희학(學)적 연구결과는 다음과 같다. 첫째, 평택농악과 진주ㆍ삼천포농악은 ‘남사당패’와 ‘솟대쟁이패’의 영향을 받아, 상쇠의 종이부포놀이와 법고잽이의 채상놀이가 유사하고, 기ㆍ예 적이며, 역동적인 진법전개를 보이고 있다. 둘째, 음악적요소에서 평택농악의 가락은 ‘쩍쩍이굿춤가락(영산더드래기, 연풍대장단)’, ‘칠채장단’, ‘좌우치기장단’, ‘마당일채’의 10박에서 6박으로 친 다음 쩍쩍이(자진삼채)장단으로 넘어가는 변이가 특징이며, 쇠가락이 빠르고 힘차며, 경쾌한 리듬감과 암ㆍ숫가락의 조화와 장단의 변화가 다양하고, 시종(始終)이 분명하다. 판굿 장단 구성은 14종류이며, 세 형태 흐름의 장단으로 연희된다. 셋째, 무용적요소에서 평택농악은 상쇠의 ‘쇠발림’과 무동의 ‘깨끼춤’, ‘찍금놀이’, ‘쾌자날개춤’과 사미의 ‘원숭이춤’이 독특하며, 법고잽이의 상모놀이와 춤사위는 소고를 치는데 중점을 두지 않고 춤에 치중한다. 특히 ‘양상’, ‘솟음법고’의 기교와 춤사위가 뛰어나고 역동적이다. 또한 진법전체적인 발동작에 있어서 ‘한번걷기’, ‘두번걷기’, ‘깨끼걸음’, ‘옆뛰기’, ‘돌사위’, ‘굴신’, ‘연풍대’로 전개되는데, 공통적인 발동작에 ‘원좌우치기’, ‘합동좌우치기’가 독창적이며, 춤사위는 ‘쩍쩍이춤’, ‘찍금놀이(모심기춤)’가 독특하다. 넷째, 진법적요소에서 평택농악은 11가지 종류의 연희진행으로 비교적 다양하며 진풀이 후 개인놀이가 주목 된다. 평택농악의 진법적 요소는 ‘원진’, 두 원진의 ‘돌림법고진’, ㄷ자형태의 ‘당산벌림진’, 동ㆍ서ㆍ남ㆍ북ㆍ중앙의 진을 쌓다 풀었다하는 ‘오방진’, 사방진의 ‘사통백이진’, 오열종대진의 ‘합동좌우치기진’으로 다양하다. 다섯째, 연극적요소에서 평택농악은 버나놀이의 돌사위, 양다리사위, 무지개사위, 양좌우치기, 때릴사위, 정봉산성매받는사위, 던질사위, 주고받는 사위와 ‘재담’이 특징이다. 여섯째, 기예적요소에서 평택농악은 ‘무동놀이’와 ‘버나놀이’가 있어 기예적인요소가 주목된다고 할 수 있고, ‘동거리’, ‘앞뒤곤두’, ‘만경창파돛대사위’, ‘머리위던질사위’, ‘곡마단(5무동)’ 등이 독창적이다. 일곱째, 제의적요소에서 평택농악은 ‘걸립굿’에 치중 한 굿의 형태이고, 걸립굿과 마을농악굿 2가지 형태이며, 지신밟기, 난장굿, 파일난장굿, 절걸립굿, 촌걸립굿, 등에 연행되는 ‘고사소리’가 특징이다. 여덟째, 놀이적요소에서 평택농악은 법고놀이, 상쇠놀이, 설장고놀이, 버나놀이, 무동놀이, 12발 채상놀이 등이 자유분방하게 연희되는데, 판을 끝내기 전 최대한의 진가를 보여주는 ‘개인놀이판’이 연행되며, 연희자들과 관중이 함께 어울리는 ‘대동놀이판’이 특색이다. 결론적으로 평택농악은 악ㆍ가ㆍ무ㆍ극ㆍ기ㆍ예(樂ㆍ歌ㆍ舞ㆍ劇ㆍ技ㆍ藝)적인 요소를 모두 갖춘 ‘종합적 연희’라 할 수 있다. 이밖에 평택농악의 판재 중, 1986년경 ‘가새벌림’이 있었으나 없어졌고, 2002년 이후 ‘설장고’, ‘버나놀이’가 가미되었으며, 무동놀이 중 ‘만경창파돛대사위(기러기사위)’, ‘앞뒤곤두’, ‘머리위던질사위’, 등이 재현되었다. 이와 더불어 평택농악에 있어서 연구 재현 될 종목은 ‘가새벌림’, ‘손바닥던질사위’, ‘회초리사위’, 등이라고 본다. 앞으로 유랑전문연희패의 기ㆍ예가 재현ㆍ전승ㆍ발전 되고, 민속사회문화 의식을 고취하는 노력이 필요하다고 본다.
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