Swinging Syllables, Aesthetics of Kathak DanceSangeet Natak Akademi, 1991 - 195 strani |
Iz vsebine knjige
Zadetki 1–3 od 73
Stran 95
Sushil Kumar Saxena. IV The Basic Intra - forms : from Vandanā to Tatkār I now feel enabled to try to determine the aesthetic character of the basic intra- forms of Kathak dance . A full - length recital of Kathak projects both rhythm ...
Sushil Kumar Saxena. IV The Basic Intra - forms : from Vandanā to Tatkār I now feel enabled to try to determine the aesthetic character of the basic intra- forms of Kathak dance . A full - length recital of Kathak projects both rhythm ...
Stran 109
... basic rhythm is symmetrical . So we need two letters more , in addition to and . Both these places may be given to , and this for two clear reasons . First , it is not a basic bol of Tablă . So its inclusion will serve to make and keep ...
... basic rhythm is symmetrical . So we need two letters more , in addition to and . Both these places may be given to , and this for two clear reasons . First , it is not a basic bol of Tablă . So its inclusion will serve to make and keep ...
Stran 110
... basic bols of Kathak are not thus helpful . is the very opening bol in the Kathak's basic use of feet , but it is also a Tabla syllable . VIII . TATKĀR We may now give a little thought to tatkār17 which is also known as tatkār ki ...
... basic bols of Kathak are not thus helpful . is the very opening bol in the Kathak's basic use of feet , but it is also a Tabla syllable . VIII . TATKĀR We may now give a little thought to tatkār17 which is also known as tatkār ki ...
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