Swinging Syllables, Aesthetics of Kathak DanceSangeet Natak Akademi, 1991 - 195 strani |
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Zadetki 1–3 od 23
Stran 40
... attitude is not quite impartial , the finding of even a small defect tends to weaken perception of what follows . Perception itself may not be called impartial , but it can certainly be mindful or casual ; and it is only an impartial ...
... attitude is not quite impartial , the finding of even a small defect tends to weaken perception of what follows . Perception itself may not be called impartial , but it can certainly be mindful or casual ; and it is only an impartial ...
Stran 41
... attitude to Kathak will not be truly aesthetic . The demand is , however , not easy to meet . And I doubt if there is any rule to determine what details in an intra - form may be left unattended on the ground that they relate to mere ...
... attitude to Kathak will not be truly aesthetic . The demand is , however , not easy to meet . And I doubt if there is any rule to determine what details in an intra - form may be left unattended on the ground that they relate to mere ...
Stran 42
... attitude is aesthetic or not . Thus , where a dancer sets out to dance the well - know paran āmad'¶ ' in a ' new ' way we cannot forthwith be sure with regard to his attitude . We have to wait and watch . If , as he develops it , the ...
... attitude is aesthetic or not . Thus , where a dancer sets out to dance the well - know paran āmad'¶ ' in a ' new ' way we cannot forthwith be sure with regard to his attitude . We have to wait and watch . If , as he develops it , the ...
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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