Swinging Syllables, Aesthetics of Kathak DanceSangeet Natak Akademi, 1991 - 195 strani |
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Zadetki 1–3 od 44
Stran 20
... effect of ordinary śringara21 . But where the goddess represented is Durga , I doubt if the overall manner can be said to be läsya , though the deity in question is feminine . Turning to gods , where the vandanā is addressed to Ganesh ...
... effect of ordinary śringara21 . But where the goddess represented is Durga , I doubt if the overall manner can be said to be läsya , though the deity in question is feminine . Turning to gods , where the vandanā is addressed to Ganesh ...
Stran 54
... effect . Let it not be thought , however , that intentionality is at work only where the Kathak improvizes . For even while dancing what is pre - fixed without any meddling he may be , and seem attuned with , and mindful of , the beauty ...
... effect . Let it not be thought , however , that intentionality is at work only where the Kathak improvizes . For even while dancing what is pre - fixed without any meddling he may be , and seem attuned with , and mindful of , the beauty ...
Stran 96
... effect of a recital cannot be allowed to appear so sensuous as it often is today ; and I believe that until we are able to duly modify what Kathak presently is in content and spirit , vandanā cannot be fixed as the necessary way to ...
... effect of a recital cannot be allowed to appear so sensuous as it often is today ; and I believe that until we are able to duly modify what Kathak presently is in content and spirit , vandanā cannot be fixed as the necessary way to ...
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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