Swinging Syllables, Aesthetics of Kathak DanceSangeet Natak Akademi, 1991 - 195 strani |
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Zadetki 1–3 od 47
Stran 34
... once after the first one . She allows an avṛti ( or round ) of the lahra ( musical line ) to complete itself before beginning the next number . This may seem a mere vacuum to the layman , but aesthetically it serves two ends in dance ...
... once after the first one . She allows an avṛti ( or round ) of the lahra ( musical line ) to complete itself before beginning the next number . This may seem a mere vacuum to the layman , but aesthetically it serves two ends in dance ...
Stran 53
... once the source of a notable quality of Kathak at its best : I mean its ability to improvize rhythmic turns or expressive ang . But let me explain : It is true that a good Kathak recital has often to be preplanned . There are many ...
... once the source of a notable quality of Kathak at its best : I mean its ability to improvize rhythmic turns or expressive ang . But let me explain : It is true that a good Kathak recital has often to be preplanned . There are many ...
Stran 114
... once must linger a little . However , if notice be taken also of the moments of wilful abandon referred to a little earlier , and of what the plural bols and the underrunning laya in fact do to each other , rhythm as it occurs in Kathak ...
... once must linger a little . However , if notice be taken also of the moments of wilful abandon referred to a little earlier , and of what the plural bols and the underrunning laya in fact do to each other , rhythm as it occurs in Kathak ...
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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