Swinging Syllables, Aesthetics of Kathak DanceSangeet Natak Akademi, 1991 - 195 strani |
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Zadetki 1–3 od 45
Stran 89
... demand for due articulation of their constituent letters , and enough room , so to say , between the syllables that contain ... demands that such bols should not be put together as may tend to bedim each other by their adjacence . Thus ...
... demand for due articulation of their constituent letters , and enough room , so to say , between the syllables that contain ... demands that such bols should not be put together as may tend to bedim each other by their adjacence . Thus ...
Stran 109
... demands in respect of ang . So we have to use akṣaras here . Now , according to the traditional Indian point of view — and here I have the Gita in mind - the place of preeminence goes to the sound . But , it cannot obviously be the name ...
... demands in respect of ang . So we have to use akṣaras here . Now , according to the traditional Indian point of view — and here I have the Gita in mind - the place of preeminence goes to the sound . But , it cannot obviously be the name ...
Stran 160
... demands relentless practice , so that one may come to develop the power to secure and relish , as the dance builds itself , attunement with the spirit of the art . We may find it hard to believe , with the Upanishads , that the universe ...
... demands relentless practice , so that one may come to develop the power to secure and relish , as the dance builds itself , attunement with the spirit of the art . We may find it hard to believe , with the Upanishads , that the universe ...
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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