Swinging Syllables, Aesthetics of Kathak DanceSangeet Natak Akademi, 1991 - 195 strani |
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Zadetki 1–3 od 30
Stran 103
... distinct from them all . In a thāța duly done the ang is upgathered ( or f442 331 ) ; but in an amad it tends to open up , and to grow quite articulate ( fam 3 ) . As for tatkār and rhythmic patterns , they are not dominated by that ...
... distinct from them all . In a thāța duly done the ang is upgathered ( or f442 331 ) ; but in an amad it tends to open up , and to grow quite articulate ( fam 3 ) . As for tatkār and rhythmic patterns , they are not dominated by that ...
Stran 108
... distinct by its variance with its abridged form , which immediately follows with some seeming impatience , but of course sans clumsiness — and which itself seems to be one in respect of pace with the subsequent lively syllables : fefe ...
... distinct by its variance with its abridged form , which immediately follows with some seeming impatience , but of course sans clumsiness — and which itself seems to be one in respect of pace with the subsequent lively syllables : fefe ...
Stran 137
... distinct , the details are clearly noticed and followed , facilitating the contemplator's confluence with the build - up of the final effect . What is more , if the singing is mellifluous - and not merely intelligible — and the abhinaya ...
... distinct , the details are clearly noticed and followed , facilitating the contemplator's confluence with the build - up of the final effect . What is more , if the singing is mellifluous - and not merely intelligible — and the abhinaya ...
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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