Swinging Syllables, Aesthetics of Kathak DanceSangeet Natak Akademi, 1991 - 195 strani |
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Zadetki 1–3 od 41
Stran 66
... never ask what it means or signifies . Our questions are all quite different . Does this thața appear all right ? How is thata to be done ? Or , why should we open the recital with a thaṭa ? How , if at all , does it help the dancer ...
... never ask what it means or signifies . Our questions are all quite different . Does this thața appear all right ? How is thata to be done ? Or , why should we open the recital with a thaṭa ? How , if at all , does it help the dancer ...
Stran 92
... never lets the laya slip out of his ideal hold , the deviance is to him all along intelligible ; and so , as a rule , likeable . I feel enabled at this point to argue a little better how Kathak is distinctive as art . Subservience to ...
... never lets the laya slip out of his ideal hold , the deviance is to him all along intelligible ; and so , as a rule , likeable . I feel enabled at this point to argue a little better how Kathak is distinctive as art . Subservience to ...
Stran 116
... never been plagued by the controversy as to which of the two is more essential for art , mimesis or sheer form . There is no dearth of patterns which blend passages of pure footwork and figural carriage with representation of verbal ...
... never been plagued by the controversy as to which of the two is more essential for art , mimesis or sheer form . There is no dearth of patterns which blend passages of pure footwork and figural carriage with representation of verbal ...
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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