Swinging Syllables, Aesthetics of Kathak DanceSangeet Natak Akademi, 1991 - 195 strani |
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Zadetki 1–3 od 35
Stran 99
... thața duly danced should be one of repose and dignity , a suggestion which also seems warranted by such uses of the word as a- , and second , that patterns may begin from and end in the basic thața posture , and so appear to be in a way ...
... thața duly danced should be one of repose and dignity , a suggestion which also seems warranted by such uses of the word as a- , and second , that patterns may begin from and end in the basic thața posture , and so appear to be in a way ...
Stran 100
... 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 requirement ...
... 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 requirement ...
Stran 103
... thața is preceded by a vandanā , it would not at all upset the way I characterize thața here ; for , in so far as it has the content of verbal meaning and expressiveness , vandanā is by no means merely formal , and thāṭa would clearly ...
... thața is preceded by a vandanā , it would not at all upset the way I characterize thața here ; for , in so far as it has the content of verbal meaning and expressiveness , vandanā is by no means merely formal , and thāṭa would clearly ...
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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