Swinging Syllables, Aesthetics of Kathak DanceSangeet Natak Akademi, 1991 - 195 strani |
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Zadetki 1–3 od 84
Stran 30
... clear difference between the layman's and the critic's use of the same aesthetic predicate in respect of our sangeet . But we may all be expected to see a distinction which I must make before moving on . The words and R , I have said ...
... clear difference between the layman's and the critic's use of the same aesthetic predicate in respect of our sangeet . But we may all be expected to see a distinction which I must make before moving on . The words and R , I have said ...
Stran 66
... clear that virtually the whole body is involved here . How dance can clothe the soul in a kind of beauty may not be clear , especially in view of its metaphysical properties such as eternality . But if the word be taken to signify our ...
... clear that virtually the whole body is involved here . How dance can clothe the soul in a kind of beauty may not be clear , especially in view of its metaphysical properties such as eternality . But if the word be taken to signify our ...
Stran 108
... clear — and if we have two clear words , andğı , in hand — what is the point in insisting that any one of them may be called a torha or tukṛa ? My final reason for refusing to call ' a ' or ' b ' a ṭukṛā is that , being chukkurdār ...
... clear — and if we have two clear words , andğı , in hand — what is the point in insisting that any one of them may be called a torha or tukṛa ? My final reason for refusing to call ' a ' or ' b ' a ṭukṛā is that , being chukkurdār ...
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