Swinging Syllables, Aesthetics of Kathak DanceSangeet Natak Akademi, 1991 - 195 strani |
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Zadetki 1–3 od 35
Stran 46
... called formal unity and regional qualities . Consider , for instance , the following typical judgments : 78 1. I see no point at all in the sargam inserted between the ending of vandanā and the opening of thāṭa ' 2. His footwork and ...
... called formal unity and regional qualities . Consider , for instance , the following typical judgments : 78 1. I see no point at all in the sargam inserted between the ending of vandanā and the opening of thāṭa ' 2. His footwork and ...
Stran 104
... called gat are to be cut out of the left - right drums . Nothing of the kind is meant by a Kathak gatinikās . The emphasis here is on overall movement ( f ) , not on the projection of individual syllables . On the other hand , the word ...
... called gat are to be cut out of the left - right drums . Nothing of the kind is meant by a Kathak gatinikās . The emphasis here is on overall movement ( f ) , not on the projection of individual syllables . On the other hand , the word ...
Stran 110
... called a torhā and not a ṭukṛā because its inner segments are all quite distinct . But some of the bols that it builds upon certainly deserve attention . ff , in its first half , is closer to the sound of ankle - bells than to the ...
... called a torhā and not a ṭukṛā because its inner segments are all quite distinct . But some of the bols that it builds upon certainly deserve attention . ff , in its first half , is closer to the sound of ankle - bells than to 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