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Geometric dance forms as warm-blooded personifications E-mail
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The Indian foreign minister said not so long back to the Western press when asked why India was not the role of peacemaker in the Middle East has to take the next; India feels rather up the hearts of people conquer with its cultural transmission than through the performance of one; police. In fact, the Prime Minister not wrong if you witnessed the Indian dance 'treasures of mother India, entered Saturday, Oct. 6 jl Lucie in Theater aan het Spui 150 Den Haag Plein the extras of predominantly Eastern European and Dutch ancestry existed . Perhaps this unique combination and composition could be an explanation for the huge number of visitors despite the fact that the access card was not so cheap.

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The presentation was in the hands of the Indian actor Adil Hussain with passion and humor, the excitement and attention it to know. The dance was a capita selecta of various Indian attributes, culture etc. including the Raas Lila, larippu, varname, Tabadi Raas , Bhangra and Chidda etc. Despite the perfect decoration, choreography and all other necessities, the total show something away from the puppet Punch, the Hindu Drama Ram Lila and then something of a musical. The performances of the break were very slow and without intrigue. What after the break was offered was something more to digest.

From the moment the curtain of the stage throws exposed to the eyes of the public the first source dansbewegingen as a twilight zone in which dream and reality meet in a formation that each change of perspective. The flashing images rapidly change color and atmosphere flow harmoniously together with a collage of Indian music. The result is elusive and enigmatic. Although the expressiveness of the dancers focused on their solo presentation, it was in harmony with the other soloists. Their meticulous acts were timed and slowly even passed the time faster than the movement and the public felt the minutes crawl or fly.

It seemed as if this individual or even a subjective expression of the dancer almost geëxalteerde expression was applied, namely a highly chromatic. This seemed both the methodical and the harmonic possibilities greatly expanded. The artistic highlight that the dance game reached germ showed strong because highly detailed model to the specific abilities of the instrumentalists. It was a wonderful athletic invention, a flowing rhythmic motion, almost voluptuous formation visible. The diversity of the moving figures on the stage and the liveliness of the music with the dancer communicated and even challenged, ran parallel to the role of the accompanying recitatives as the melody of the music. The music was by this medium of dance and expression was even elevated to an ideal atmosphere in which the moving passions could verpuren to beauty. Especially the solo pieces from the Dutch violinist Lenneke of steel included the unquantifiable feeling and passionate expression, with little rhythmic accent, that the basis for a perfect serene modesty. Drastic and easier to hear the humorous effect of instrumentation, which often outside musical associations were to prevail.

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This music was quietly deployed beklemmender and slowly gained importance. The versatile personification did express in dance steps which appeared with a thorough incomparable greater diversity and inner wealth. The body and arm associating with a childlike cheerfulness and with seriousness and smart, with an exuberant cheerfulness as a sincere piety. Technically it was not only fascinating because of the complete control of the box but also by the diversity in design, by daring modulations and contrasts of movement types by harmonics. The gift to each character consistent display to adapt to life in the geometric dance forms, in short, the gift to the acts ahw to life, to become warm-blooded personifications had this dance into a spectacle sublime.

Rabin Gangadin

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