Swinging Syllables, Aesthetics of Kathak DanceSangeet Natak Akademi, 1991 - 195 strani |
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Zadetki 1–3 od 67
Stran 74
... Movement — Again Perhaps the most obvious feature of a dance is its movement . It may be merely good to look at , or expressive as well ( that is , a gesture ) . It is true that the dancer here often makes an effective use of statuesque ...
... Movement — Again Perhaps the most obvious feature of a dance is its movement . It may be merely good to look at , or expressive as well ( that is , a gesture ) . It is true that the dancer here often makes an effective use of statuesque ...
Stran 75
... movement ; but whereas this movement derives its aesthetic interest from the significance of the action represented , in competent Kathak dance movements can easily appear quite winsome in themselves . Yet , in so far as movements are ...
... movement ; but whereas this movement derives its aesthetic interest from the significance of the action represented , in competent Kathak dance movements can easily appear quite winsome in themselves . Yet , in so far as movements are ...
Stran 122
... movement ( such as palta ) and passages of pure footwork . This device serves quite a few ends . It saves us from getting bored with the familiarity of the life situations represented , by providing a relief ; highlights the necessary ...
... movement ( such as palta ) and passages of pure footwork . This device serves quite a few ends . It saves us from getting bored with the familiarity of the life situations represented , by providing a relief ; highlights the necessary ...
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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