Swinging Syllables, Aesthetics of Kathak DanceSangeet Natak Akademi, 1991 - 195 strani |
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Zadetki 1–3 od 41
Stran 24
... danseuse has to take great care - without , of course , letting what she does appear laboured — in regulating both body movements and treatment of rhythm . A proof of such deliberateness is provided by the simple fact that one often ...
... danseuse has to take great care - without , of course , letting what she does appear laboured — in regulating both body movements and treatment of rhythm . A proof of such deliberateness is provided by the simple fact that one often ...
Stran 34
... danseuse to reëstablish tatkår for a while and to check her hold over laya53 . What is more , this round of respite ... danseuse feels free to leave her arms quite loose and to let them sway sideways along with the varying manner of ...
... danseuse to reëstablish tatkår for a while and to check her hold over laya53 . What is more , this round of respite ... danseuse feels free to leave her arms quite loose and to let them sway sideways along with the varying manner of ...
Stran 100
... danseuse some needed respite . But she cannot afford to seem waiting in the everyday manner , for that would tend to dissipate the spell of dance . The way of standing has to differ here from the common postures of waiting . So , I ...
... danseuse some needed respite . But she cannot afford to seem waiting in the everyday manner , for that would tend to dissipate the spell of dance . The way of standing has to differ here from the common postures of waiting . So , I ...
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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