Swinging Syllables, Aesthetics of Kathak DanceSangeet Natak Akademi, 1991 - 195 strani |
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Zadetki 1–3 od 83
Stran 82
... merely put together , but as integrated , so that its details heighten each other's charm or significance in the dance . The content's being formed - or integrated -- is , in principle , thoroughgoing ; it is no mere juxtaposition of ...
... merely put together , but as integrated , so that its details heighten each other's charm or significance in the dance . The content's being formed - or integrated -- is , in principle , thoroughgoing ; it is no mere juxtaposition of ...
Stran 113
... merely ideal . Surely , we all see the difference between the impact of the sama - beat in dhamar and in a Tritāla ... merely as the last stroke or mātrā of the thekā or the pattern , but as the [ shapely ] culmination of a self ...
... merely ideal . Surely , we all see the difference between the impact of the sama - beat in dhamar and in a Tritāla ... merely as the last stroke or mātrā of the thekā or the pattern , but as the [ shapely ] culmination of a self ...
Stran 188
... merely imitative representation of some outer happening , but as striking a sympathetic chord in his heart , for what is projected here is an original affective tendency of his own being . The projection in question is therefore not merely ...
... merely imitative representation of some outer happening , but as striking a sympathetic chord in his heart , for what is projected here is an original affective tendency of his own being . The projection in question is therefore not merely ...
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