Swinging Syllables, Aesthetics of Kathak DanceSangeet Natak Akademi, 1991 - 195 strani |
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Zadetki 1–3 od 42
Stran 34
... tatkār has to be before it may seem intrinsic in charm . The dancing will not appear winsome if the torso here seems ashake . This is why in tatkār the beginner is advised to keep his arms interlocked , close to the chest . When the ...
... tatkār has to be before it may seem intrinsic in charm . The dancing will not appear winsome if the torso here seems ashake . This is why in tatkār the beginner is advised to keep his arms interlocked , close to the chest . When the ...
Stran 110
... TATKĀR We may now give a little thought to tatkār17 which is also known as tatkār ki barṛhat ( or ) , and is often seen to conclude a recital . Its value may be brought out as follows : a . It builds upon the basic syllables of Kathak ...
... TATKĀR We may now give a little thought to tatkār17 which is also known as tatkār ki barṛhat ( or ) , and is often seen to conclude a recital . Its value may be brought out as follows : a . It builds upon the basic syllables of Kathak ...
Stran 152
... tatkār . The dances are a part of our sangeet ; and today it is customary for our music , especially instrumental , to end with some superfast passages . So it would be quite in conformity with our artistic practice if the Kathak too ...
... tatkār . The dances are a part of our sangeet ; and today it is customary for our music , especially instrumental , to end with some superfast passages . So it would be quite in conformity with our artistic practice if the Kathak too ...
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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