Swinging Syllables, Aesthetics of Kathak DanceSangeet Natak Akademi, 1991 - 195 strani |
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Zadetki 1–3 od 55
Stran 76
... Laya and ang are far more valuable here . The pair may be said to make the very matrix of Kathak . But , unlike ang which is all along open to the onlooker , laya is the object of a subtler perception . It is true that , as movement ...
... Laya and ang are far more valuable here . The pair may be said to make the very matrix of Kathak . But , unlike ang which is all along open to the onlooker , laya is the object of a subtler perception . It is true that , as movement ...
Stran 90
... laya which may be contemplated as a mere 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 ...
... laya which may be contemplated as a mere 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 ...
Stran 113
... laya flow . It is indeed a fellowship , and no mere observation or counting . A little like one's faith in God , laya is not easy to keep ; but if one is able to meet the requirement , the gain is , in either case , ready : the issue of ...
... laya flow . It is indeed a fellowship , and no mere observation or counting . A little like one's faith in God , laya is not easy to keep ; but if one is able to meet the requirement , the gain is , in either case , ready : the issue of ...
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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