Swinging Syllables, Aesthetics of Kathak DanceSangeet Natak Akademi, 1991 - 195 strani |
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Zadetki 1–3 od 45
Stran 90
... flow where the bols are sparse or distantly positioned , and so appear to be not only set in but held apart by the flow . b . Nor is continuity , I repeat , everywhere literal . Patterns are often seen to have pauses which do not ruffle ...
... flow where the bols are sparse or distantly positioned , and so appear to be not only set in but held apart by the flow . b . Nor is continuity , I repeat , everywhere literal . Patterns are often seen to have pauses which do not ruffle ...
Stran 113
... flow ( or laya ) steadfastly , but the peck itself may be definite ( even assertive ) or dainty , and in some cases merely ideal . Surely , we all see the difference between the impact of the sama - beat in dhamar and in a Tritāla thața ...
... flow ( or laya ) steadfastly , but the peck itself may be definite ( even assertive ) or dainty , and in some cases merely ideal . Surely , we all see the difference between the impact of the sama - beat in dhamar and in a Tritāla thața ...
Stran 114
... flow that pulsates rhythmically and yet neither blurs nor is itself bedimmed by the accents that keep it alive . Indeed , in our concern with the ' pure ' in Kathak , as in contemplating solo presentations of rhythm , the basis of our ...
... flow that pulsates rhythmically and yet neither blurs nor is itself bedimmed by the accents that keep it alive . Indeed , in our concern with the ' pure ' in Kathak , as in contemplating solo presentations of rhythm , the basis of our ...
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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