Swinging Syllables, Aesthetics of Kathak DanceSangeet Natak Akademi, 1991 - 195 strani |
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Zadetki 1–3 od 49
Stran 129
... various bodily parts , both individually and in unison , can be made to express various moods and emotions . What I find it possible to do is , on the other hand , much less specific . I propose first to explain the various terms listed ...
... various bodily parts , both individually and in unison , can be made to express various moods and emotions . What I find it possible to do is , on the other hand , much less specific . I propose first to explain the various terms listed ...
Stran 134
... various bodily parts can be made to express the various feelings . Indeed , when we speak of art's relation to life it would be wrong to take the latter as signifying only the outer things and happenings . The inner life of man ...
... various bodily parts can be made to express the various feelings . Indeed , when we speak of art's relation to life it would be wrong to take the latter as signifying only the outer things and happenings . The inner life of man ...
Stran 188
... various objective factors , and the basic subjective condition , of rasa - evocation are related to one another . Vibhāva , we have seen , provides a situation which is relevant to the evocation , and so reminds us , of a particular ...
... various objective factors , and the basic subjective condition , of rasa - evocation are related to one another . Vibhāva , we have seen , provides a situation which is relevant to the evocation , and so reminds us , of a particular ...
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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