Swinging Syllables, Aesthetics of Kathak DanceSangeet Natak Akademi, 1991 - 195 strani |
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Zadetki 1–3 od 40
Stran 36
... proper to do so . But to so interpret mudrā is not quite true to the way it works within a dance . The meaning of a mudrā is not brought out unless the visage , nay the whole bodily bearing — especially the eyes — are also suitably ...
... proper to do so . But to so interpret mudrā is not quite true to the way it works within a dance . The meaning of a mudrā is not brought out unless the visage , nay the whole bodily bearing — especially the eyes — are also suitably ...
Stran 49
... proper way the lahra is of course merely heard , not expressly attended to , though it must be said to quietly help , like the theka , our flowing in tune with the dance's laya . But , during the empty āvṛti between two neighbouring ...
... proper way the lahra is of course merely heard , not expressly attended to , though it must be said to quietly help , like the theka , our flowing in tune with the dance's laya . But , during the empty āvṛti between two neighbouring ...
Stran 183
... proper place may at once grow a little angry or sad at the sight of even a slight displacement of books from their proper positions on his study table , his friend who believes , let us say , that some disorder serves only to lend an ...
... proper place may at once grow a little angry or sad at the sight of even a slight displacement of books from their proper positions on his study table , his friend who believes , let us say , that some disorder serves only to lend an ...
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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