Swinging Syllables, Aesthetics of Kathak DanceSangeet Natak Akademi, 1991 - 195 strani |
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Zadetki 1–3 od 82
Stran 20
... look läsya , except perhaps fitfully , say , at places where goddess Parvati is projected . " Tändava signifies those dance intra - forms that appear bold , animated , vigorous , fluent and impressive . The rhythm cycles that make for ...
... look läsya , except perhaps fitfully , say , at places where goddess Parvati is projected . " Tändava signifies those dance intra - forms that appear bold , animated , vigorous , fluent and impressive . The rhythm cycles that make for ...
Stran 50
... look as in Bharatanatyam nor so gentle and relaxed as in Odissi . Further , within the limits set by the individual character of the various intra - forms , nothing prevents the dancer from changing their pre - fixed order or a part of ...
... look as in Bharatanatyam nor so gentle and relaxed as in Odissi . Further , within the limits set by the individual character of the various intra - forms , nothing prevents the dancer from changing their pre - fixed order or a part of ...
Stran 124
... look for the terminal pauses . Symbols in dance , on the other hand , are generally themselves good to look at . They are visual - figural analogues of natural or everyday things and happenings , but they have a newness for the eye ...
... look for the terminal pauses . Symbols in dance , on the other hand , are generally themselves good to look at . They are visual - figural analogues of natural or everyday things and happenings , but they have a newness for the eye ...
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