Swinging Syllables, Aesthetics of Kathak DanceSangeet Natak Akademi, 1991 - 195 strani |
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Zadetki 1–3 od 58
Stran 55
... rasika must be said to do so , if not as comprehensively as the former . He is certainly not a passive witness as he watches a recital . Nor is his ' activity ' confined to a right perception of the details of dance . He has to hold on ...
... rasika must be said to do so , if not as comprehensively as the former . He is certainly not a passive witness as he watches a recital . Nor is his ' activity ' confined to a right perception of the details of dance . He has to hold on ...
Stran 133
... rasika , and so is , as a sequel , the complementarity of ang . At this point some may rejoin that the true dance rasika should go only by what he sees , without being disturbed by what meets the ear . But to this I would readily say ...
... rasika , and so is , as a sequel , the complementarity of ang . At this point some may rejoin that the true dance rasika should go only by what he sees , without being disturbed by what meets the ear . But to this I would readily say ...
Stran 137
... rasika who may be merely told about it all after the recital ; and so when the listening rasika finally comes to ' see ' the upsurge of rasa ( or , to put it simply , the emotional atmosphere ) it will be no mere looking at , but an ...
... rasika who may be merely told about it all after the recital ; and so when the listening rasika finally comes to ' see ' the upsurge of rasa ( or , to put it simply , the emotional atmosphere ) it will be no mere looking at , but 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