Swinging Syllables, Aesthetics of Kathak DanceSangeet Natak Akademi, 1991 - 195 strani |
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Zadetki 1–3 od 66
Stran 24
... feeling ' in Kathak means not only individual , discernible emotions — which are its meaning in the context of abhinaya in thematic items — but one's ' feeling for ' rhythm , the ability to attune oneself with its changing manner of ...
... feeling ' in Kathak means not only individual , discernible emotions — which are its meaning in the context of abhinaya in thematic items — but one's ' feeling for ' rhythm , the ability to attune oneself with its changing manner of ...
Stran 83
... feeling , and not what he himself may be feeling at the moment of creation . My point , however , is that a ( pure ) Kathak number may have nothing to do with feeling as emotion , and may only project a specific quality of the dance ...
... feeling , and not what he himself may be feeling at the moment of creation . My point , however , is that a ( pure ) Kathak number may have nothing to do with feeling as emotion , and may only project a specific quality of the dance ...
Stran 181
... feeling or emotion - which colour our whole being when they occur . ' Feeling ' ( or bhāva , in one sense of the word ) is here to be taken , we may note , as emotion , not as organic feeling , such as the feeling of bodily welfare ...
... feeling or emotion - which colour our whole being when they occur . ' Feeling ' ( or bhāva , in one sense of the word ) is here to be taken , we may note , as emotion , not as organic feeling , such as the feeling of bodily welfare ...
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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