Swinging Syllables, Aesthetics of Kathak DanceSangeet Natak Akademi, 1991 - 195 strani |
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Zadetki 1–3 od 60
Stran 57
... attention to the details of an art - work . Here , to be sure , words are used ; but their direct aim is merely to make us understand what the exponent of a particular art generally does , not to make us evaluate a specific work or ...
... attention to the details of an art - work . Here , to be sure , words are used ; but their direct aim is merely to make us understand what the exponent of a particular art generally does , not to make us evaluate a specific work or ...
Stran 70
... attention may remain glued to what is shown on the stage , instead of moving away , because of waning visual charm , to what it indicates in life . If thematic intra - forms are danced in the manner suggested here , the representational ...
... attention may remain glued to what is shown on the stage , instead of moving away , because of waning visual charm , to what it indicates in life . If thematic intra - forms are danced in the manner suggested here , the representational ...
Stran 187
... attention of the majority of spectators . The value of familiar uddīpanas like a moonlit night or a shady nook is , therefore , obvious in vibhāvas that are meant to appeal to the sthāyibhāva of rati . But , be it noted , the charming ...
... attention of the majority of spectators . The value of familiar uddīpanas like a moonlit night or a shady nook is , therefore , obvious in vibhāvas that are meant to appeal to the sthāyibhāva of rati . But , be it noted , the charming ...
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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