Swinging Syllables, Aesthetics of Kathak DanceSangeet Natak Akademi, 1991 - 195 strani |
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Zadetki 1–3 od 38
Stran 61
... simple recessive movement on the stage with arms bent at elbows and hands gently resting on the waist . Here , however , the steps follow the simple one - two pattern . This was pointed out to me by Shrimati Rani Karnaa . 54. Yet , I ...
... simple recessive movement on the stage with arms bent at elbows and hands gently resting on the waist . Here , however , the steps follow the simple one - two pattern . This was pointed out to me by Shrimati Rani Karnaa . 54. Yet , I ...
Stran 100
... simple thața after some patterns will make for the suggestion that the whole recital keeps gathering itself at times . Finally , I may put forth yet another argument as to how an occasional return to thața is demanded by the simple ...
... simple thața after some patterns will make for the suggestion that the whole recital keeps gathering itself at times . Finally , I may put forth yet another argument as to how an occasional return to thața is demanded by the simple ...
Stran 151
... simple Tritāla at moderate pace , the overall look can be quite sober if the content is just a few mnemonic syllables held apart by glides that seem to wind their way unhurriedly . Alternatively , if the syllabic filling is rich and ...
... simple Tritāla at moderate pace , the overall look can be quite sober if the content is just a few mnemonic syllables held apart by glides that seem to wind their way unhurriedly . Alternatively , if the syllabic filling is rich and ...
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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