Swinging Syllables, Aesthetics of Kathak DanceSangeet Natak Akademi, 1991 - 195 strani |
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Zadetki 1–3 od 26
Stran 49
... performance of dance . The Tānpurā too is a great aid , as we know , to our classical vocalists ; but whereas even ... performances by Kathaks from the different gharānās , and is therefore conversant with the technique and the ...
... performance of dance . The Tānpurā too is a great aid , as we know , to our classical vocalists ; but whereas even ... performances by Kathaks from the different gharānās , and is therefore conversant with the technique and the ...
Stran 52
... performance . The first of these , intentionality , is not to be confused with intention . An intention is a kind of plan . It is fixed in the sense that one is required to follow it and carry it out , instead of changing it at will ...
... performance . The first of these , intentionality , is not to be confused with intention . An intention is a kind of plan . It is fixed in the sense that one is required to follow it and carry it out , instead of changing it at will ...
Stran 78
... performance , so that instead of having to worry about the due blending of different elements , the danseuse may be able to concentrate on the whole - form and to dance undividedly . Let it not be said , I repeat , that where the dance ...
... performance , so that instead of having to worry about the due blending of different elements , the danseuse may be able to concentrate on the whole - form and to dance undividedly . Let it not be said , I repeat , that where the dance ...
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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