Swinging Syllables, Aesthetics of Kathak DanceSangeet Natak Akademi, 1991 - 195 strani |
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Zadetki 1–3 od 11
Stran 181
... sthāyibhāva in the genesis of rasa , is quietly accepted , and is not picked for mention , because it is not a mere element of art . But in actual aesthetic experience , Bharata would insist , the sthāyibhāva is always at work . For ...
... sthāyibhāva in the genesis of rasa , is quietly accepted , and is not picked for mention , because it is not a mere element of art . But in actual aesthetic experience , Bharata would insist , the sthāyibhāva is always at work . For ...
Stran 182
... sthāyibhāva with sentiment . There is no doubt that a sentiment , like friendship or love of one's country , works as a fairly stable determinant of our attitudes and behaviour . But it cannot be said to be a part of the original ...
... sthāyibhāva with sentiment . There is no doubt that a sentiment , like friendship or love of one's country , works as a fairly stable determinant of our attitudes and behaviour . But it cannot be said to be a part of the original ...
Stran 188
... sthāyibhāva . Anubhāva infuses life into vibhāva , and so enables us to comprehend the latter a little better . At the same time , vibhāva too is essential for the effectiveness of anubhāva . A mere class - room lecture on abhinaya ...
... sthāyibhāva . Anubhāva infuses life into vibhāva , and so enables us to comprehend the latter a little better . At the same time , vibhāva too is essential for the effectiveness of anubhāva . A mere class - room lecture on abhinaya ...
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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