Swinging Syllables, Aesthetics of Kathak DanceSangeet Natak Akademi, 1991 - 195 strani |
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Zadetki 1–3 od 25
Stran 116
... representation of verbal meaning through gestures . Indeed , Kathak has never been faced with the either - or of representation and expression . As we shall see in the following pages of this chapter , both have their due place in this ...
... representation of verbal meaning through gestures . Indeed , Kathak has never been faced with the either - or of representation and expression . As we shall see in the following pages of this chapter , both have their due place in this ...
Stran 117
... representation of a reality so determined must at once be regarded as being , in part , their expression too . In other words , representation is not as removed from expression as it was thought to be in traditional art theory . The ...
... representation of a reality so determined must at once be regarded as being , in part , their expression too . In other words , representation is not as removed from expression as it was thought to be in traditional art theory . The ...
Stran 127
... representation look utterly removed from the everyday manner , though , I hasten to add , it all appears very appealing to the eye . 3. Älingan and Rati - bhāva Here ... representation is found Representation and Expression in Kathak 127.
... representation look utterly removed from the everyday manner , though , I hasten to add , it all appears very appealing to the eye . 3. Älingan and Rati - bhāva Here ... representation is found Representation and Expression in Kathak 127.
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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