Swinging Syllables, Aesthetics of Kathak DanceSangeet Natak Akademi, 1991 - 195 strani |
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Zadetki 1–3 od 72
Stran 24
... fact necessary , composed and attentive . Expression , here , is therefore not symptomatic like the frightened look of a man who is , in fact , gripped by fear , But , though expression in Kathak is therefore neither direct nor ...
... fact necessary , composed and attentive . Expression , here , is therefore not symptomatic like the frightened look of a man who is , in fact , gripped by fear , But , though expression in Kathak is therefore neither direct nor ...
Stran 169
... fact rather is that , as Osborne points out , there is little evidence to prove that " by and large and on the whole ... [ artists ] are better men or emotionally more balanced or profound than the generality of mankind ” 5 . Quite a ...
... fact rather is that , as Osborne points out , there is little evidence to prove that " by and large and on the whole ... [ artists ] are better men or emotionally more balanced or profound than the generality of mankind ” 5 . Quite a ...
Stran 192
... fact , look at them individually in real life ; for , were they so regarded , everybody would be seeing his own Rama or Sita on the stage , whereas the truth is that the characters impersonated appear generalized ( sādhāraṇikṛta ) or as ...
... fact , look at them individually in real life ; for , were they so regarded , everybody would be seeing his own Rama or Sita on the stage , whereas the truth is that the characters impersonated appear generalized ( sādhāraṇikṛta ) or as ...
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