Swinging Syllables, Aesthetics of Kathak DanceSangeet Natak Akademi, 1991 - 195 strani |
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Zadetki 1–3 od 66
Stran 17
... seen , and not to be heard ; but a little later he thought it necessary to say , quite rightly , that the ankle - bells used in Kathak ( ghungroos ) are not the bells that are commonly put around the feet of bullocks and horses11 , a ...
... seen , and not to be heard ; but a little later he thought it necessary to say , quite rightly , that the ankle - bells used in Kathak ( ghungroos ) are not the bells that are commonly put around the feet of bullocks and horses11 , a ...
Stran 186
... seen or contemplated . It is anubhāva which makes it , the vibhāva , come alive by projecting some movements , gestures and speeches that are seen to occur , and also by employing some superadded factors like music and dance . To put it ...
... seen or contemplated . It is anubhāva which makes it , the vibhāva , come alive by projecting some movements , gestures and speeches that are seen to occur , and also by employing some superadded factors like music and dance . To put it ...
Stran 189
... seen ) a simple matter . The different bhāvas must all be made to work in accord before rasa can arise . Samyoga is essential . For , if it is taken by itself , an individual constituent may easily fail to serve as a clear pointer to a ...
... seen ) a simple matter . The different bhāvas must all be made to work in accord before rasa can arise . Samyoga is essential . For , if it is taken by itself , an individual constituent may easily fail to serve as a clear pointer to a ...
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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