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논문 상세정보

국학연구 , 2011년, pp.357 - 395   http://dx.doi.org/10.36093/ks.2011..19.011
본 등재정보는 저널의 등재정보를 참고하여 보여주는 베타서비스로 정확한 논문의 등재여부는 등재기관에 확인하시기 바랍니다.

국립국악원의 무애무 재현에 대하여 ― 김천흥과 이흥구의 역할을 중심으로
A Study on Muaemu Representation by National Gugak Center ― Focusing on Roles of Kim Cheon-heung and Lee Heung-gu

채한숙 
  • 초록

    Muaemu, designed by Wonhyo, was settled as jeungjae(呈才) since its first being introduced to the royal court of Goryeo. During the modern period, there found no particular record of it, aside from the performance at Chosun Local Products Fair in 1915. However, since the beginning of the 1980's, Muaemu was put on the stage more often through the jeungjae(呈才) representation project conducted by National Gugak Center. According to data collected till now, Muaemu representation has been performed for 26 times from May 18, 1981 to November 23, 2003. Kim Cheon-heung(金千興) and Lee Heung-gu(李興九) were the most influential figures for the representation of Muaemu at that time. Kim Cheon-heung was mainly in charge of the stage work while Lee Heung-gu concentrated more on writing and establishing of books on Muaemu. Muaemu in the 80's was basically represented based on 『Gyesanyeonholki(癸巳年笏記)』 and its costume as well as formation appeared to be quite similar to other jeungjae(呈才)s. Along with the representation of Muaemu, the dance books and other relevant references were established, including the two books, 『Court Dance Book(궁중무용무보)(Mansumu, Muaemu) the 11th series』, and 『Korea's Court Dance Library(궁중무용총서) 3: Muaemu, Ahbakmu, Mugo』. The only difference between the books is how each of them has described the number of gourd dipper and incidental music. This is considered an evidence that Kim Cheon-heung and Lee Heung-gu disagreed on the representation of Muaemu to a certain degree.


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