Swinging Syllables, Aesthetics of Kathak DanceSangeet Natak Akademi, 1991 - 195 strani |
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Zadetki 1–3 od 44
Stran 75
... beauty Kathak is inferior to our other classical dance forms . ) In plays and operas as well , it is true , we have plenty of movement ; but whereas this movement derives its aesthetic interest from the significance of the action ...
... beauty Kathak is inferior to our other classical dance forms . ) In plays and operas as well , it is true , we have plenty of movement ; but whereas this movement derives its aesthetic interest from the significance of the action ...
Stran 77
... beauty as an object of disinterested delight can well be worked up by such merely formal features ( or elements ) as clarity , fluency , variation of pitch , and stress on some bols as against others . The word ' utterance ' may also be ...
... beauty as an object of disinterested delight can well be worked up by such merely formal features ( or elements ) as clarity , fluency , variation of pitch , and stress on some bols as against others . The word ' utterance ' may also be ...
Stran 159
... beauty . As freedom from selfish interest , such delight may be had in social service too . What the experience of beauty requires , in addition , is contemplation of the object's form where what meets the ear or the eye may be just as ...
... beauty . As freedom from selfish interest , such delight may be had in social service too . What the experience of beauty requires , in addition , is contemplation of the object's form where what meets the ear or the eye may be just as ...
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