Swinging Syllables, Aesthetics of Kathak DanceSangeet Natak Akademi, 1991 - 195 strani |
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Zadetki 1–3 od 63
Stran 24
... present and important here . That they are present has already been brought out in our treatment of mukhvilās . That they make for the aesthetic value of dance may be argued as follows : For aestheticians like Collingwood and Langer ...
... present and important here . That they are present has already been brought out in our treatment of mukhvilās . That they make for the aesthetic value of dance may be argued as follows : For aestheticians like Collingwood and Langer ...
Stran 150
... present but sthāyi and antară ; and the Kathak himself , though he draws very heavily upon the drummer's art , does not expect the rhythm ( in dance ) to open with a peshkār which is generally regarded as the right beginning for a solo ...
... present but sthāyi and antară ; and the Kathak himself , though he draws very heavily upon the drummer's art , does not expect the rhythm ( in dance ) to open with a peshkār which is generally regarded as the right beginning for a solo ...
Stran 152
... present Kathak practice of ending a recital with a display of variform tatkār . The dances are a part of our sangeet ; and today it is customary for our music , especially instrumental , to end with some superfast passages . So it would ...
... present Kathak practice of ending a recital with a display of variform tatkār . The dances are a part of our sangeet ; and today it is customary for our music , especially instrumental , to end with some superfast passages . So it would ...
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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