Swinging Syllables, Aesthetics of Kathak DanceSangeet Natak Akademi, 1991 - 195 strani |
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Zadetki 1–3 od 89
Stran 17
... Kathak dance is meant to be seen , and not to be heard ; but a little later he thought it necessary to say , quite rightly , that the ankle - bells used in Kathak ( ghungroos ) are not the bells that are commonly put around the feet of ...
... Kathak dance is meant to be seen , and not to be heard ; but a little later he thought it necessary to say , quite rightly , that the ankle - bells used in Kathak ( ghungroos ) are not the bells that are commonly put around the feet of ...
Stran 64
... Kathak is an art form . I do not see any reason to doubt it , but it is likely to help our present enquiry if we give some thought to the question as to how Kathak is ... dance intra - forms — in which Kathak abounds — Kathak as an Art Form.
... Kathak is an art form . I do not see any reason to doubt it , but it is likely to help our present enquiry if we give some thought to the question as to how Kathak is ... dance intra - forms — in which Kathak abounds — Kathak as an Art Form.
Stran 72
... Kathak dance , on the other hand , rhythm is kept and marked ceaselessly , except in the opening vandana which may take the form of dancing to a śloka that is not , as a rule , set in any tāla . Again , whereas the background that the ...
... Kathak dance , on the other hand , rhythm is kept and marked ceaselessly , except in the opening vandana which may take the form of dancing to a śloka that is not , as a rule , set in any tāla . Again , whereas the background that the ...
Pogosti izrazi in povedi
Abhinavagupta abhinaya accompanist aesthetic experience aestheticians amad appear art-work artist attention attunement bandish basic beats beauty Bharatanatyam bhāva Birju Maharaj bodily bols character charm chukkurdār classical dance clear contemplation course creative dance form dancer danseuse demands dhruvapada distinct distinguished drummer elements emotion emphasis essay essential everyday expression expressional fact feeling flow footfalls footwork freely gently gestures hand Ibid imagination individual inner intra-form Jāti Kathak dance Kathak Kendra Kathak recital kind Krishna lahra Langer läsya laya look mark mātrās means merely movement mudrā mukhvilās nritta object Odissi overall pace Pakhawaj paran paṛhant pattern Phenomenology posture present projection question rāga rasa rasika relation relish representation respect rhythm rhythmic sangeet seems seen self-complete sense speak śringāra sthāyibhāva suggest syllables Tablā taken tāla tatkār thața thumri tiyā torhā Tritāla vandanā variform vibhāva vilambit vocal whole winsome word थेई धधिगिन है