Swinging Syllables, Aesthetics of Kathak DanceSangeet Natak Akademi, 1991 - 195 strani |
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Zadetki 1–3 od 46
Stran 53
... beats are no mere series of numerals ; they measure segments of the laya flow ; and they pave the way , so to say , to an orderly arrival at the sama . Such a reading of the beats is , however , given only to the dancer or the rasika ...
... beats are no mere series of numerals ; they measure segments of the laya flow ; and they pave the way , so to say , to an orderly arrival at the sama . Such a reading of the beats is , however , given only to the dancer or the rasika ...
Stran 109
... beats . But it would not be enough for the art of dance if these beats are merely numbered . For numerals only help the act of counting ; they make no demands in respect of ang . So we have to use akṣaras here . Now , according to the ...
... beats . But it would not be enough for the art of dance if these beats are merely numbered . For numerals only help the act of counting ; they make no demands in respect of ang . So we have to use akṣaras here . Now , according to the ...
Stran 149
... beat bandish in Kedar , an essay in śringāra rasa , touched the focal beat at the word ; and that if the first came ... beats . To illustrate , if the amad of a dhamar meant really for singing arises from the tenth beat , we may give it ...
... beat bandish in Kedar , an essay in śringāra rasa , touched the focal beat at the word ; and that if the first came ... beats . To illustrate , if the amad of a dhamar meant really for singing arises from the tenth beat , we may give it ...
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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