Swinging Syllables, Aesthetics of Kathak DanceSangeet Natak Akademi, 1991 - 195 strani |
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Zadetki 1–3 od 45
Stran 54
... thought , however , that intentionality is at work only where the Kathak improvizes . For even while dancing what is pre - fixed without any meddling he may be , and seem attuned with , and mindful of , the beauty of every present ...
... thought , however , that intentionality is at work only where the Kathak improvizes . For even while dancing what is pre - fixed without any meddling he may be , and seem attuned with , and mindful of , the beauty of every present ...
Stran 56
... thought he was clearly wrong ; for thata which precedes āmad is , in fact , regarded as a part of the total recital . But , I later asked myself , how exactly do we use the words in our talk about sangeet ? And I thought of a genuine ...
... thought he was clearly wrong ; for thata which precedes āmad is , in fact , regarded as a part of the total recital . But , I later asked myself , how exactly do we use the words in our talk about sangeet ? And I thought of a genuine ...
Stran 64
... thought to the question as to how Kathak is really art . Many of us would find it difficult to go beyond the mere insistence that Kathak is one of our acknowledged classical dance forms . On the other hand , there are quite a few lovers ...
... thought to the question as to how Kathak is really art . Many of us would find it difficult to go beyond the mere insistence that Kathak is one of our acknowledged classical dance forms . On the other hand , there are quite a few lovers ...
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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