• Chapter 10 Summary : Shall We Dance - Nritta, Nritya and Natya

  • 2024/08/19
  • 再生時間: 7 分
  • ポッドキャスト

Chapter 10 Summary : Shall We Dance - Nritta, Nritya and Natya

  • サマリー

  • Narrated by Shantha Lakshmi

    Chapter 10 of Shall We Dance explores the intricate art of Bharatanatyam, emphasizing its synthesis of various fine arts, including music, poetry, drama, painting, and sculpture.

    The chapter begins with a quote by Constanze Mozart, "Dancing is like dreaming with your feet," highlighting the expressive nature of dance. It discusses the universal instinct for dancing and how Bharatanatyam, rooted in the Natya Shastra, has achieved unparalleled technical excellence in India.

    The chapter delves into the fundamental aspects of Indian dance—Nrittya, Nritya, and Natya—along with the vigorous Tandavam and graceful Lasya styles. It emphasizes the importance of Abhinaya (gesticulatory expression) in conveying the dance's meaning, dividing it into four types: Angika, Vachika, Aharya, and Satvika.

    The traditional structure of a Bharatanatyam performance, including Alarippu, Jatiswaram, Shabdam, Varnam, Padam, and Tillana, is also outlined. The chapter concludes by highlighting the goal of evoking rasotpatti (aesthetic emotion) in the audience, achieved through the dancer's deep connection with the character and emotions portrayed.

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あらすじ・解説

Narrated by Shantha Lakshmi

Chapter 10 of Shall We Dance explores the intricate art of Bharatanatyam, emphasizing its synthesis of various fine arts, including music, poetry, drama, painting, and sculpture.

The chapter begins with a quote by Constanze Mozart, "Dancing is like dreaming with your feet," highlighting the expressive nature of dance. It discusses the universal instinct for dancing and how Bharatanatyam, rooted in the Natya Shastra, has achieved unparalleled technical excellence in India.

The chapter delves into the fundamental aspects of Indian dance—Nrittya, Nritya, and Natya—along with the vigorous Tandavam and graceful Lasya styles. It emphasizes the importance of Abhinaya (gesticulatory expression) in conveying the dance's meaning, dividing it into four types: Angika, Vachika, Aharya, and Satvika.

The traditional structure of a Bharatanatyam performance, including Alarippu, Jatiswaram, Shabdam, Varnam, Padam, and Tillana, is also outlined. The chapter concludes by highlighting the goal of evoking rasotpatti (aesthetic emotion) in the audience, achieved through the dancer's deep connection with the character and emotions portrayed.

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