Swinging Syllables, Aesthetics of Kathak DanceSangeet Natak Akademi, 1991 - 195 strani |
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Zadetki 1–3 od 38
Stran 134
... rasa - evocation . I do not suggest , we may note , that Kathak has nothing to do with the rasa theory or that our dancers should not aim at evoking rasa . The basic material of dance is a whole living person , a being who can not only ...
... rasa - evocation . I do not suggest , we may note , that Kathak has nothing to do with the rasa theory or that our dancers should not aim at evoking rasa . The basic material of dance is a whole living person , a being who can not only ...
Stran 135
... rasa ; for whereas the rasika may well see ' unrealized possibilities 42 in the former , rasa is always a relish of utter satisfaction , if only so long as it lasts . But , on the other hand , though the early likeable feeling ...
... rasa ; for whereas the rasika may well see ' unrealized possibilities 42 in the former , rasa is always a relish of utter satisfaction , if only so long as it lasts . But , on the other hand , though the early likeable feeling ...
Stran 140
... rasa compositions with but mere glimpses of wrath , just as touches of visible fear may be made to give added poignancy to a karuņa rasa intra - from . d . Karuna and veer rasas are not quite ignored by the present - day Kathak , though ...
... rasa compositions with but mere glimpses of wrath , just as touches of visible fear may be made to give added poignancy to a karuņa rasa intra - from . d . Karuna and veer rasas are not quite ignored by the present - day Kathak , though ...
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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