Swinging Syllables, Aesthetics of Kathak DanceSangeet Natak Akademi, 1991 - 195 strani |
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Zadetki 1–3 od 78
Stran 24
... course identifiable29 , but it is inwardly affirmed and plastic , not rigidly set . I may add , in passing , that ' feeling ' in Kathak means not only individual , discernible emotions — which are its meaning in the context of abhinaya ...
... course identifiable29 , but it is inwardly affirmed and plastic , not rigidly set . I may add , in passing , that ' feeling ' in Kathak means not only individual , discernible emotions — which are its meaning in the context of abhinaya ...
Stran 68
... course , looks odd . Does it make sense to speak of dance as something over and above the dancer himself , and as a superhuman being ? Or is it all mere talk ? I cannot answer such questions with a ready yes or no ; and can only reflect ...
... course , looks odd . Does it make sense to speak of dance as something over and above the dancer himself , and as a superhuman being ? Or is it all mere talk ? I cannot answer such questions with a ready yes or no ; and can only reflect ...
Stran 130
... course of acting , if a person is able to vividly imagine the emotive character of the situation he seeks to portray , he may in fact become imbued a little with the emotion in question . When this happens the bodily expressions of the ...
... course of acting , if a person is able to vividly imagine the emotive character of the situation he seeks to portray , he may in fact become imbued a little with the emotion in question . When this happens the bodily expressions of the ...
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