Swinging Syllables, Aesthetics of Kathak DanceSangeet Natak Akademi, 1991 - 195 strani |
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Zadetki 1–3 od 65
Stran 92
... respect of its flowing with , or divergence from , the basic pace . All deviation from the fundamental rhythm has to be orderly and intentional here ; and in so far as the true rasika never lets the laya slip out of his ideal hold , the ...
... respect of its flowing with , or divergence from , the basic pace . All deviation from the fundamental rhythm has to be orderly and intentional here ; and in so far as the true rasika never lets the laya slip out of his ideal hold , the ...
Stran 150
... respect of this quality Kathak , as we know , is not too rich today . On the other hand , it often tends to appear rather frivolous , especially where it presents śringāra rasa intra - forms . So I think it necessary that the dhruvapada ...
... respect of this quality Kathak , as we know , is not too rich today . On the other hand , it often tends to appear rather frivolous , especially where it presents śringāra rasa intra - forms . So I think it necessary that the dhruvapada ...
Stran 152
... respect of the choice of rāgas for two adjacent thematic dance numbers ? Yes , I think it is . In an elaborate number like ashṭapadi the sequence of the rāgas has to meet a dual requirement . The change from one melody type to another ...
... respect of the choice of rāgas for two adjacent thematic dance numbers ? Yes , I think it is . In an elaborate number like ashṭapadi the sequence of the rāgas has to meet a dual requirement . The change from one melody type to another ...
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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