Swinging Syllables, Aesthetics of Kathak DanceSangeet Natak Akademi, 1991 - 195 strani |
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Zadetki 1–3 od 27
Stran 82
... represents . What is important to mark here , however , is the point that in representational numbers the content of dance ( as art ) is richer than in nritta . It comprises the verbal text describing the incident or situation represented ...
... represents . What is important to mark here , however , is the point that in representational numbers the content of dance ( as art ) is richer than in nritta . It comprises the verbal text describing the incident or situation represented ...
Stran 122
... represented , by providing a relief ; highlights the necessary rhythmic matrix of the dance ; so keeps the art form clearly distinct from drama ; and helps us meet the general requirement of dance that attention may not be distracted by ...
... represented , by providing a relief ; highlights the necessary rhythmic matrix of the dance ; so keeps the art form clearly distinct from drama ; and helps us meet the general requirement of dance that attention may not be distracted by ...
Stran 123
... represented is that the deity dispels all ignorance , the idea of totality is often transformed into one of finality , and may be represented with a sharp and decisive flourish of the arm . I have in mind here phrases like ...
... represented is that the deity dispels all ignorance , the idea of totality is often transformed into one of finality , and may be represented with a sharp and decisive flourish of the arm . I have in mind here phrases like ...
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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