풍자화전(큰글씨책)

제아미

저자제아미(世阿彌,1363∼1443)는일본중세무로마치(室町)초기에활약했던인물로,일본이자랑하는전통예능노(能)를대성시킨장본인이다.그는노의연기자임과동시에연출가이기도했으며,노의대본인요쿄쿠(謠曲)의명작을다수써서남기기도해,당대를대표하는예능인이자문호로손꼽히는인물이다.그가태어난시기는당시대표적노극단중하나였던간제좌(觀世座)의창시자로지목되는아버지간아미(觀阿彌,1333∼1384)가출세의발판을막다졌을무렵이었다.새로운시대를연무로마치의아시카가(足利)막부정권이제3대쇼군(將軍)아시카가요시미쓰(足利義滿,1368∼1394재위)의통치하에정치적기반을더욱공고히다지던시기였다.그는어렸을적부터재능이남달랐고외모또한출중해,뛰어난예능인이자문호로서의자질을천부적으로타고났던듯하다.그가열두살되던무렵,그러한그의모습이당대최고권력자인제3대쇼군요시미쓰(義滿)의눈에들었고요시미쓰는43세의나이로생을마칠때까지제아미의절대적인후원자가되었다.이기간동안제아미와그의극단간제좌는다른경쟁극단사람들이감히넘볼수없는절대우위의번영을누리게되었다.이같은요시미쓰의비호하에그가필생의과제로삼았던예술적지향점은관객이나독자가최대의감동을느끼는매력적포인트를가리키는개념인‘꽃’의완성이었다.쇼군요시미쓰도예술적안목이무척높아,그안목의수준에맞추려제아미도필사적으로노력했다고한다.그리하여그는불교적선(禪)개념에입각한이꽃이론을토대로해서≪풍자화전(風姿花傳)≫,≪화경(花鏡)≫등의뛰어난이론서를써서남겼다.이들저술들의책이름에도‘화(花)’자가들어있음을보아도이들저술들의중심에‘꽃’의이론이있음을엿볼수가있다.하지만그뒤를이은제4대쇼군요시모치,제6대쇼군요시노리(義?)는제아미를탄압하여급기야늙은몸으로사도(佐渡)라는외딴섬으로유배되는지경에까지이르렀다.그러나여기서간과해서는안될점이한가지있다.그것은그같은시련의후반생이잉태해낸산물이기라도하듯,여기서번역해소개하는≪풍자화전≫을위시한대부분의그의역작들이이후반생에이루어졌다는점이다.앞에서소개한≪제아미십륙부집(世阿彌十六部集)≫에수록된이론서들이거의이시기에이루어졌던것이다.흡사속살과껍질의틈새에끼어든불순물의아픔을진주로승화시켜낸진주조개처럼그는이암울한후반생속에서도시련에굴하지않고주옥과도같은그의노작품들대부분을지어냈다.그는자신에게주어진시련의깊이를사색의깊이로승화시킴으로써,그가필생의과제로삼았던연기자로서의‘꽃’의개화를인생의무대위에서도이룩해냈던것이다.

서언 ·······················1

제1편각연령에따른수련법의갖가지
칠세 ·······················7
십이삼세부터 ···················9
십칠팔세부터 ··················11
이십사오 ····················13
삼십사오 ····················16
사십사오 ····················18
오십넘어 ····················20

제2편연기수련법갖가지
여인 ······················27
노인 ······················29
맨얼굴 ·····················31
모노구루이(物狂) ················32
법사 ······················35
수라 ······················36
신 ·······················38
오니(鬼) ·····················39
가라고토(唐事) ·················41
맺는말 ·····················43

제3편문답갖가지
노(能)의길흉예지와그대책 ···········47
서(序)·파(破)·급(急) ··············51
경연에대한대책 ·················53
젊은배우의꽃과고참배우의꽃 ··········55
상수는하수의본보기,하수는상수의본보기 ····58
수준차 ·····················61
대사에맞춘연기동작 ··············64
시든정취 ····················66
꽃은마음,씨는기술 ···············69

제4편사루가쿠의기원전설
신대(神代)의기원 ················75
인도에서의기원전설 ···············77
일본에서의기원전설 ···············79
헤이안(平安)시대의사루가쿠역사 ·········82
당대(當代)의역사 ················85
사루가쿠제좌(諸座) ···············87

제5편오의(奧義)
이책저술의취지와서명의유래 ··········91
모든예풍을두루섭렵해익힐것 ··········93
중인애경(衆人愛敬)과수복증장(壽福增長) ·····99
발문(跋文) ···················103

제6편꽃을체득하는비결
노의대본을짓는일 ···············107
작자가유의해야할사항 ·············111
강한것·유현한것·약한것·거친것 ·······114
노를아는것 ··················119

제7편별지구전
꽃을안다는것 ·················125
상수의꽃 ····················130
닮으려는의식이없는경지와노목의꽃 ······132
십체(十體)와연년거래(去來)의꽃 ········134
고정되지않기위한경계심 ············138
비밀스러워야피는꽃 ··············139
인과(因果)의꽃 ·················142
사람들마음속에피는꽃 ·············145
발문 ······················147


해설 ······················149
지은이에대해 ··················158
옮긴이에대해 ··················162

친자식이라해도그릇이아니면전하지말라!
김제동씨도탄복한예능계의비전,여기그비밀이밝혀진다.
가부키와함께일본의대표적예능인‘노’에서“꽃”을피우기위한연기비결,훈련방법등이소개되어있다.
그러나이작품의진미는그런기술적인노하우가아니라연기의꽃을피우기위한마음가짐,평생의수양에있다.
연기자뿐아니라하나의목표를향해나아가려는사람이라면반드시읽어야할인생지침서다.

『풍자화전』은일본의극노의대성자제아미가저술한최초의노이론서다.걸출한노의작자일뿐만아니라연출가이자배우이기도했던제아미는,그의오랜실전적경험과아버지간아미로부터의유훈등을토대로하여이명저를지어남겼다.
≪풍자화전≫의주제는무대위에서예술의‘꽃’을피우기위해서연기자들이가져야할올바른‘수련’의태도를제시하고강조하는데에있다.제목중의‘풍자(風姿)’라는말은‘예술적으로표현된연기의모습’이라는뜻을지녔으니,그러한‘연기모습에예술적매력으로서의꽃을개화시키기위해서연기자들이알아야할비결을써서전한다’는뜻이≪풍자화전(風姿花傳)≫이라는책명에담겨있다고보면되겠다.
이상과같은내용을담고있는이≪풍자화전≫이라는작품은당시로서는획기적인연기이론서로서,이후에나온제아미의이론서들의토대역할을한것으로간주된다.오늘날의노연기자들에게도적지않은시사를던져주는내용을담고있는역작으로평가되며,노뿐만아니라그밖의예능분야에종사하는사람들에게까지도널리읽히고있는명저로서의평가가자자하다.