Swinging Syllables, Aesthetics of Kathak DanceSangeet Natak Akademi, 1991 - 195 strani |
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Zadetki 1–3 od 55
Stran 53
... mind feels at one with . The beats are no mere series of numerals ; they measure segments of the laya flow ; and they pave the way , so to say , to an orderly arrival at the sama . Such a reading of the beats is , however , given only ...
... mind feels at one with . The beats are no mere series of numerals ; they measure segments of the laya flow ; and they pave the way , so to say , to an orderly arrival at the sama . Such a reading of the beats is , however , given only ...
Stran 62
... mind a particular venue , Jhankar , the beautiful little theatre established , in the main , for intimate presentation of our sangeet to small audiences in the baithak manner by the Shriram Bharatiya Kala Kendra , New Delhi . 75 ...
... mind a particular venue , Jhankar , the beautiful little theatre established , in the main , for intimate presentation of our sangeet to small audiences in the baithak manner by the Shriram Bharatiya Kala Kendra , New Delhi . 75 ...
Stran 130
... mind can produce many emotions . Further , unlike an ordinary emotion which is short - lived , a sthāyibhāva is a native equipment of the mind which persists throughout one's life . The various sthāyibhāvas and their corresponding rasas ...
... mind can produce many emotions . Further , unlike an ordinary emotion which is short - lived , a sthāyibhāva is a native equipment of the mind which persists throughout one's life . The various sthāyibhāvas and their corresponding rasas ...
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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