Swinging Syllables, Aesthetics of Kathak DanceSangeet Natak Akademi, 1991 - 195 strani |
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Zadetki 1–3 od 65
Stran 41
... turn on whether or not the detail in question is a part of the look of the dance ; and this is a matter which theory cannot help us decide . This should not , however , be taken to mean that in our attitude to Kathak as art we notice ...
... turn on whether or not the detail in question is a part of the look of the dance ; and this is a matter which theory cannot help us decide . This should not , however , be taken to mean that in our attitude to Kathak as art we notice ...
Stran 54
... turn now to the field of dance , when in the execution of a pattern a seasoned Kathak dances the syllable , his attitude is not that of a student who seeks merely to understand the dance . For he does not actively think of — though he ...
... turn now to the field of dance , when in the execution of a pattern a seasoned Kathak dances the syllable , his attitude is not that of a student who seeks merely to understand the dance . For he does not actively think of — though he ...
Stran 70
... turns — that the rasika's attention may remain glued to what is shown on the stage , instead of moving away , because of ... turn inwards - where this character is replaced by the slightly incurvate quality of . ( I have in mind what the ...
... turns — that the rasika's attention may remain glued to what is shown on the stage , instead of moving away , because of ... turn inwards - where this character is replaced by the slightly incurvate quality of . ( I have in mind what the ...
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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