연행예술의 관점에서 바라본 시조(時調)의 이해와 해석 방안

초록

This study was prepared in line with the theme of “The Present and Future of Gosijo Literary Criticism” from the recent Korean Sijo Society Conference (July 17, 2025), and specifically reflects the aim of examining sijo from the perspectives of performance, transmission, and reception. The author approaches sijo through the perspective of performance art, restoring its intrinsic performative-literary attributes, and argues for the necessity of incorporating these characteristics into textual interpretation. Although sijo studies have already accumulated substantial scholarly achievements, discussions and criticism related to performance have generally been treated as secondary. Accordingly, this study examines the contextual background of Hwang Jini’s sijo “Eojeo nae ir-iya” (“oh, what I did!"), as included in Cheonggu Youngeon (compiled by Kim Cheontaek), along with its musical and vocal features, to clarify the work’s renewed aesthetic and poetic qualities as well as changes in meaning according to the transition from male to female vocal performance. Furthermore, the study presents sijo criticism from the perspective of performance art, focusing on two pieces—“Moran-eun hwajung-wang-iyo” (“Peony Is the King of Flowers”) and “Goul-sa wolhwa-boe” (“How beautiful! Footsteps under the moonlight”)—and, while reflecting the scholarly achievements to date, attempts to describe them in a manner attuned to the sensibilities of the general public.

키워드