Government of IndiaNritta and nritya varieties in India
Author: Tagore, Shrimati
Keywords: Ballet
Dance
India
Issue Date: 2004
Publisher: Sangeet Natak Akademi, New Delhi
Description: The most significant feature of the present-day theatrical art is the enormous popularity of the dance and dance-drama. All our theatrical performances-past and present are to a large extent dependent on dance and music, and are referred to by Bharata and other Sanskrit writers as narya which comprises both drama and dance. Natya is classified into two main groups the rupaka and the uparupaka. Rupaka is a perfect drama depicting one continuous theme and having the development of one emotion or rasa, and is therefore also known as rasabhinaya or vakyarthabhinaya. The uparupaka is mainly the nritya variety with which are concerned in this paper by dividing it under subheadings and points.
Source: Sangeet Natak Akademi
Type: Article
Received From: Sangeet Natak Akademi
| DC Field | Value |
| dc.contributor.author | Tagore, Shrimati |
| dc.date.accessioned | 2017-07-11T23:28:57Z |
| dc.date.available | 2017-07-11T23:28:57Z |
| dc.date.issued | 2004 |
| dc.description.abstract | The most significant feature of the present-day theatrical art is the enormous popularity of the dance and dance-drama. All our theatrical performances-past and present are to a large extent dependent on dance and music, and are referred to by Bharata and other Sanskrit writers as narya which comprises both drama and dance. Natya is classified into two main groups the rupaka and the uparupaka. Rupaka is a perfect drama depicting one continuous theme and having the development of one emotion or rasa, and is therefore also known as rasabhinaya or vakyarthabhinaya. The uparupaka is mainly the nritya variety with which are concerned in this paper by dividing it under subheadings and points. |
| dc.source | Sangeet Natak Akademi |
| dc.format.extent | 104-113 p. |
| dc.format.mimetype | application/pdf |
| dc.language.iso | en |
| dc.publisher | Sangeet Natak Akademi, New Delhi |
| dc.subject | Ballet Dance India |
| dc.type | Article |
| dc.identifier.issuenumber | 4 |
| dc.identifier.volumenumber | 38 |
| dc.format.medium | text |
| DC Field | Value |
| dc.contributor.author | Tagore, Shrimati |
| dc.date.accessioned | 2017-07-11T23:28:57Z |
| dc.date.available | 2017-07-11T23:28:57Z |
| dc.date.issued | 2004 |
| dc.description.abstract | The most significant feature of the present-day theatrical art is the enormous popularity of the dance and dance-drama. All our theatrical performances-past and present are to a large extent dependent on dance and music, and are referred to by Bharata and other Sanskrit writers as narya which comprises both drama and dance. Natya is classified into two main groups the rupaka and the uparupaka. Rupaka is a perfect drama depicting one continuous theme and having the development of one emotion or rasa, and is therefore also known as rasabhinaya or vakyarthabhinaya. The uparupaka is mainly the nritya variety with which are concerned in this paper by dividing it under subheadings and points. |
| dc.source | Sangeet Natak Akademi |
| dc.format.extent | 104-113 p. |
| dc.format.mimetype | application/pdf |
| dc.language.iso | en |
| dc.publisher | Sangeet Natak Akademi, New Delhi |
| dc.subject | Ballet Dance India |
| dc.type | Article |
| dc.identifier.issuenumber | 4 |
| dc.identifier.volumenumber | 38 |
| dc.format.medium | text |
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