Swinging Syllables, Aesthetics of Kathak DanceSangeet Natak Akademi, 1991 - 195 strani |
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Zadetki 1–3 od 82
Stran 81
... mere medley of colours , but colours as used in a particular way , and invested with a special significance , contert as aesthetic is quite different from the mere medium of art . Materials like bronze , tones and paints are no creation ...
... mere medley of colours , but colours as used in a particular way , and invested with a special significance , contert as aesthetic is quite different from the mere medium of art . Materials like bronze , tones and paints are no creation ...
Stran 90
... 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 often seen to have pauses which do not ...
... 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 often seen to have pauses which do not ...
Stran 113
... mere completion of patterns , however well designed , but these varying pulsations of communion with the 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 ...
... mere completion of patterns , however well designed , but these varying pulsations of communion with the 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 ...
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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