Abstract
During the Jeongjo period in the 18th century, the inner banquet space hosted the main character and its participants, some of which had to sit in the yard. The main space, Bongsudang, had the highest hierarchy where the king was partitioned in the upper left corner outside the main pillar, and the yeoryung, participants, instruments, and performers were partitioned in the yard. The king's space was divided into a horizontal hierarchical structure where dancers performed in a dance space with a complex composition in which the spaces of the ministers were divided, and participants were located in the yard space. At the beginning of the 19th century, entering the period of prosperity, a vertical hierarchy was established in the arrangement of the banquet space. In the lively inner banquet, the crown prince sat in the upper right corner with increased political authority, and the upper left corner was clearly divided and partitioned into a space for royal women. The center of the vestibule was divided into spaces for dance and music, and the space for subordinates was clearly separated outside the hall. During the reign of King Heonjong in the middle of the 9th century, the lotus space was clearly divided into a structure with a vertical hierarchy: the primary space of the great queen, the main character of the rendition, the secondary space of the royal woman, the king's space, the tertiary space of dance, the fourth space of the musician, and the fifth space of the servant. Centering on the main character, the naeyeon was divided into a space for women of the royal family, a space for the king and dance in the yard. The composition of Mushinjinchan's rhyme during the Heonjong period appeared in the same compositional system as the composition of the banquet during the Gojong period. The composition of the banquet space was subdivided into vertical hierarchies, and the political dignity of the Great King, who was a convergence and cleanser in the late Joseon Dynasty, was fully reflected in the internal combustion space. In addition, the vertical hierarchy of the space was divided and expanded by reflecting the authority of the royal woman. The inner banquet play acting-stage composition was clearly separated from its subordinates after the period of King Sunjo. The king's space had a vertical hierarchy next to the great king where spatially it was transformed into a yard space to distinguish it from women. The authority of the great king in the late Joseon Dynasty was reflected in Yeonhyang, and its composition reflects her Confucian filial piety to the royal adults appeared directly in the play acting-stage to celebrate the inner banquet, and indirectly suggested that the king's authority was diminishing.