<봉래의(鳳來儀)>의 전인자(前引子)와 후인자(後引子)의 내용을 『악학궤범(樂學軌範)』을 중심 으로 이론적 토대를 마련하고 이를 실연하기 위해 당악정재 14종과 정재 무도를 통합 비교하였 을 때 다음과 같은 결론을 얻었다. 첫째, 『악학궤범』<봉래의>의 도입부에 죽간자의 무진․ 무퇴가‘족도이진좌우분립’혹은‘족도 이퇴좌우분립’으로 기록되어있어 그 내용을 살폈을 때, 이는 죽간자 2인이 나란히 서서 이동한 것이었다. 둘째, 도입부의 죽간자 무퇴 위치가‘좌우분립’으로 기록되어있어 내용을 살폈을 때 그 위치는 좌우협무의 바깥쪽이었다. 셋째, 종결부의 죽간자‘무퇴’내용을 살폈을 때 도입부와 같이 좌우분립한 것이었다. 넷째, 종결부의 죽간자 무진은 무원 남쪽에서의 무진(1)과 무원 북쪽 에서의 무진(2) 2단계로 구분하여 진행하였다. 다섯째, 4대 좌우대형에서의 무원들 이동경로를 실연관점으로 살폈을 때 전인자․ 후인자 모두 양쪽의 기녀들 사이로 무진․ 무퇴를 하였다. 이상의 내용을 토대로 『악학궤범』에 기록된 <봉래의> 전인자와 후인자의 죽간자가 실행하 면 다음과 같은 순서로 진행된다. 죽간자는 4대 좌우대형의 무원 앞[북]에 서서 전인자 음악이 연주되면 북향하여 무진하여 서서 진구호를 부른 다음 양쪽의 기녀들 사이인 좌대의 좌무[左1․ 左3]와 우대의 우무[右2․右3]사이로 물러나 무원들 남쪽에서 동서(東西) 무진하여 좌무(2)와 우무 (1) 바깥쪽에 선다. 춤이 마칠 즈음[취풍형(醉豊亨)]에 죽간자가 동서(東西) 무진하여 양쪽의 기녀 들 사이인 좌대의 좌무[左2․ 左4]와 우대의 우무[右1․ 右4]로 무진하여 무원들 앞[북]에 섰다가 후 인자 음악이 연주되면 다시 북향 무진하여 퇴구호를 부른 다음 양기사이인 좌대의 좌무[左1 ․ 左 3]와 우대의 우무[右2․ 右3]사이로 물러나 무원들 남쪽에서 동서(東西) 무진하여 좌무(2)와 우무(1) 바깥쪽에 선다.

“Jeoninja(前引子)” and “Huinja(後引子)” are the accompanying music in the beginning and closing of <Bonglaeui>, when the jukganja(竹竿子) does mujin and mutwae. The jukganja that only appears in dangakjeongjae(唐樂呈才) dances in the beginning and closing of the performance, calling the signals that mark the beginning and the end of the dance as well as leading the dancers at those moments. In <Bonglaeui> the signal that marks the beginning of the dance is called jinguho(進口號) and that of the closing twaeguho(退口號). <Bonglaeui> records the instruction of the jukganja simply as sojin, mujin and jwaubunlip. The document indicates where the jukganja is positioned and in what directions it moves, but what matters in actual performance is the route and process of its progression and its specific positions centering around sadae jwaudaehyeong. Referring to the simple record, the current jeongjae has arranged the positions of the jukganja for the stages of present Western-style theatres and limited its performance to mujin, mutwae, and calling signals in the beginning and in the closing. Accordingly, the jukganja has not drawn much attention. In the light of the significance of restoring the Korean court dance culture, this study did a comprehensive examination on 14 kinds of dangakjeongjae and jeongjaemudo and identified the contents of “Jeoninja”and“Huinja”of <Bonglaeui> in Akhakgwebeom in the aspect of actual performance. First, concerning mujin and mutwae of the jukganja,‘jokdoijinjwaubunlip’and ‘jokdoitwaejwaubunlip’are mentioned in the introduction of“Bonglaeui”in Akhakgwebeom. Therefore, it is assumed that 2 of the jukganja move along side by side. Second, as for the position that the jukganja has to retreat to after it calls the signal in the beginning, the record states‘jwaubunlip’. Thus, it is assumed that its actual position should be outside of jwauhyeopmu. Third, the instruction for the jukganja after it calls the exit signal is mutwae. However, it is ambiguous whether it means its complete exit or staying outside of jwauhyeopmu as it does in the beginning. Judging from its specific positions in the performance, it turns out to be the latter. In other words, mutwae of the jukganja does not imply the complete exit but standing on the both sides of the dancers. Forth, it revealed that the jukganja does mujin twice to call the exit signal. It stays on the sides of the dancers in the south while they dance. When the dance is finished, the jukganja does mujin between the yang-gi and stands before the dancers[in the north] and does mujin again and then stops to call the exit signal. In Akhakgwebeom, it is simply recorded as 'sojin'. Through the examination on its actual movements, it turns out that it carries out mujin twice. Fifth, when the movement route of the dancers of sadae jwaudaehyeong is examined in terms of performance, it does mujin and mutwae between the yang-gi. It is applied to both “Jeoninja”and“Huinja”. It moves between jwamu of jwadae and umu of udae when it does mutwae after it calls the signals in the beginning and the closing and does mujin to call the signal in the closing. In conclusion, when the jukganja is dancing to“Jeoninja”and“Huinja”, it mostly positions itself either in the front[in the north] or in the back[in the south] of the dancers. The positions of the jukganja are distinguished from those of the rest of the dancers. It is in different positions according to the different parts of the performance and its movement structure is set.

국문요약
Ⅰ. 머리말
Ⅱ. 전인자․ 후인자의 기록내용 검토
Ⅲ. 전인자․ 후인자의 생략내용 탐색
Ⅳ. 전인자․ 후인자의 실연구조 탐색
1. 죽간자의 이동과정
2. 죽간자의 이동경로
3. 죽간자의 위치
Ⅴ. 맺음말
참고문헌
Abstract

• 손선숙(한국문예연구소 연구원) | Son, Seon-Suk (Institute of Korean Literature and Arts)