Swinging Syllables, Aesthetics of Kathak DanceSangeet Natak Akademi, 1991 - 195 strani |
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Zadetki 1–3 od 35
Stran 19
... charms by virtue of its own inner design and other excellences . Abstract painting and our instrumental music are good instances . Nritta in Kathak is at least as abstract , and can be quite as rich in intrinsic charm . But Kathak , as ...
... charms by virtue of its own inner design and other excellences . Abstract painting and our instrumental music are good instances . Nritta in Kathak is at least as abstract , and can be quite as rich in intrinsic charm . But Kathak , as ...
Stran 20
... charm ? Should such an invocation be called an essay in lāsya ? Here , I fear , a single clear answer is not possible . An invocation should , of course , never appear to teem with śringāra rasa . But , apart from this negative ...
... charm ? Should such an invocation be called an essay in lāsya ? Here , I fear , a single clear answer is not possible . An invocation should , of course , never appear to teem with śringāra rasa . But , apart from this negative ...
Stran 73
... charm ; and that , on the other hand , in the eyes of a rasika the mere beauty of a danseuse is never able to make amends for her lack of skill in dancing . I do not suggest that native physical equipment is of no consequence to the ...
... charm ; and that , on the other hand , in the eyes of a rasika the mere beauty of a danseuse is never able to make amends for her lack of skill in dancing . I do not suggest that native physical equipment is of no consequence 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