Swinging Syllables, Aesthetics of Kathak DanceSangeet Natak Akademi, 1991 - 195 strani |
Iz vsebine knjige
Zadetki 1–3 od 30
Stran 82
... possible ) content of reality to which it refers . To illustrate , whereas the subject matter of a portrait is the individual portrayed who clearly retains his identity in spite of the portrayal , its materials are the paints used and ...
... possible ) content of reality to which it refers . To illustrate , whereas the subject matter of a portrait is the individual portrayed who clearly retains his identity in spite of the portrayal , its materials are the paints used and ...
Stran 92
... possible . The fact indeed is that , as demonstrated by the late Guru Mohan Kallianpurkar in the Birju Maharaj Prasang at Bhopal ( 8 Sept. 1984 ) , even the basic bols of dance like a have in the past been danced differently by our ...
... possible . The fact indeed is that , as demonstrated by the late Guru Mohan Kallianpurkar in the Birju Maharaj Prasang at Bhopal ( 8 Sept. 1984 ) , even the basic bols of dance like a have in the past been danced differently by our ...
Stran 148
... possible . The thața requires the accompanist in question to move along with the dance so that the rasika's — and not merely the dancer's — attunement with the laya flow may be helped and they may all be gently received into the lahrā ...
... possible . The thața requires the accompanist in question to move along with the dance so that the rasika's — and not merely the dancer's — attunement with the laya flow may be helped and they may all be gently received into the lahrā ...
Pogosti izrazi in povedi
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