Swinging Syllables, Aesthetics of Kathak DanceSangeet Natak Akademi, 1991 - 195 strani |
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Zadetki 1–3 od 81
Stran 85
... syllables occurs only once , covering roughly six beats ; it is : affeff . The syllables that forerun and follow it are all clearly slower in pace . So the little spurt does not cancel , but only serves to heighten by contrast , the ...
... syllables occurs only once , covering roughly six beats ; it is : affeff . The syllables that forerun and follow it are all clearly slower in pace . So the little spurt does not cancel , but only serves to heighten by contrast , the ...
Stran 87
... syllables in Kathak because , so far as I know , they have never been discussed earlier , though they have of course been at work in this dance form since its very dawn . Along with the law I have just referred to , the opposite one of ...
... syllables in Kathak because , so far as I know , they have never been discussed earlier , though they have of course been at work in this dance form since its very dawn . Along with the law I have just referred to , the opposite one of ...
Stran 93
... syllables all along . A syllable is a word , or part of a word , uttered by a single effort of the voice . Upon this commonly accepted view ,,, fa , f , are not only bols ( of pure dance ) , but syllables too . But , on the other hand ...
... syllables all along . A syllable is a word , or part of a word , uttered by a single effort of the voice . Upon this commonly accepted view ,,, fa , f , are not only bols ( of pure dance ) , but syllables too . But , on the other hand ...
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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