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Пайдаланылған әдебиет тізімі 1 Балвант Гарги. Театр и танец Индии. Москва, 1963 г. 2.Dr. Bharti Gupta. Kathak Sagar. 3.Enakshi Bhavnani. The dance in India. 1965. 4.Leela Vankataraman, Avinash Pasricha. Indian Classical Dance: Tradition in Transition. Lustre Press, Roli Books, 2005. 5.Regenald Messey “Indian’s Kathak dance Past, Present, Future” 1999. 6.Leela Venkataraman, Photographs: Avinash Pasricha. The dancing phenomenon Birju Maharaj. Lustre Press, Roli Books, New Delhi 2001. 7.Бирджу Махараджа, Официальный сайт: ссылка скрыта 8.Тарасова Елена. ссылка скрыта profile-elena_tarasova.html. 9.Ashish Khokhar. Shriram Bharatiya Kala Kendra A History. Lustre Press, Roli Books, New Delhi. 10.Ranjana Srivastana. Tantra Mantra Yantra. New Delhi 2004. 11 По материалам книги «Ритмы радости» Лилы Самсон 12.Sunila Kothari. Indian Classical Dance: Kathak. New Delhi.1988. 13.Sunila Kothari. Indian Classical Dance: Bharata Natiyam. New Delhi. 14.Sunila Kothari. Indian Classical Dance: Odissi. New Delhi. 15.Sunila Kothari. Indian Classical Dance: Kathakali. New Delhi . 16.Sunila Kothari. Indian Classical Dance: Manipuri. New Delhi. 17.Sunila Kothari. Indian Classical Dance: Kuchipudi. New Delhi. 18.Sunila Kothari. Indian Classical Dance: Mohini Attam. New Delhi. 19.Bharata Muni, Natya-Sastra, vo. I, Manamohan Ghosh, 2end edn., Granthalaya Pvt. Ltd. Calcutta , 1967 20.Bharata Muni, Natya-Sastra, vols I, 1971; II, 1975; III, 1981, with commentaries Abhinava-bharati, Madhusudai 7 Balakrida, Banaras Hindu University, Varanasi. 21.Г.Саитова и О.Шубладзе. Восточные танцы. Алматы, 2007. 22.Сайт: Индийские герои www.iloveindia.com 23. ссылка скрыта 24. u/news/indian_dance/2008/11/30/kathak.html 25.Галеркина О.И., Богданов Ф.Л. Искусство Индии в древности и средние века. М., 1963. 26.Гринцер П.А. Основные категории классической индийской поэтики. М., 1987 27.Кабир Хумайюн. Индийская культура. М., 1963 28.Короцкая А.А. Сокровища индийского искусства. М., 1966. 29.Косамби Д. Культура и цивилизация Древней Индии. М., 1972. 30.Котовская М.П. Синтез искусств. Зрелищные искусства Индии. М., 1982. 31.Ольденбург С.Ф. Культура Индии. М., 1991. 32.Прокофьев С.С. Искусство Индии. М., 1964. 33.Прокофьев С.С. Искусство Индии// Всеобщая история искусств. Т.2. М., 1961. 34.Пугаченкова Г.А. Искусство Гандхары. М., 1982. 35.Рангунвалла Ф. Кино Индии. М., 1987 36.Суворова А.А. У истоков новоиндийской драмы. М., 1985 37.Тюляев С.И. Искусство Индии. М., 1968. 38.Тюляев С.И. Искусство Индии. III тыс. до н.э. – VII в н.э. М., 1988. 39.Челышев Е.П. Сопричастность красоте и духу. Взаимодействие культур Востока и Запада. М. ,1991 40.Котовская М.П. Синтез искусств. Москва, 1982. 41.Виноградова Н.А., Прокофьев О.С. Искусство Древней Индии// Всеобщая история искусств. Т.I. М., 1956. Ministry of Education and Science of Kazakhstan Kazakh National Academy of Arts named after T. Jurgenov Tokhtiyeva Shakhrizat Ablakhatovna ABSTRACT "Style in the Kathak Indian classical dance" Graduate 6M040600 Speciality "Directing" Specialization "Directed Choreography” The dissertation on competition of the academic degree of the master arts Scientific supervisor: Ph.D. in History of Arts Shankibaeva Alia Bakhitjanovna Almaty 2011 Contents Introduction Chapter 1. The difference styles of Indian classical dance 1.1 History of Indian classical dance 1.1.1 Indian classical dance Bharatanatyam 1.1.2 Indian Classical Dance: Kathakali 1.1.3 Indian Classical Dance: Odissi 1.1.4 Indian Classical Dance: Manipur 1.1.5 Indian Classical Dance: Kuchipudi 1.1.6 Indian classical dance: Mohiniattam 1.2 History of Kathak: Gharanas (schools) in Indian classical Kathak style 1.2.1 Jaipur Gharana 1.2.3 Lucknow Gharana 1.2.4 Benares gharana 1.2.4 Three varieties Nritta, Nritya, Natya 1.2.5 Basic emotions and Hastie (hand gestures) Chapter 2. Famous Dancers Kathak style 2.1 Rajendra Gangan 2.2 Prerna Shimali 2.3 Birju Maharaj 2.4 Saswati Seb Conclusion Bibliography Introduction Expanding cultural viewpoint of people of Kazakhstan is a necessary condition for the formation of a harmoniously developed personality and tolerance in a society in Kazakhstan's joining the 50th most developed countries. India is a friendly state. Kazakhstan and India, as emphasized by President Nursultan Nazarbayev, support the long-standing friendly ties in various areas, primarily in the sphere of culture. Interest in a large part of Kazakhstan to the Indian culture in general and Indian dance in particular, due to the large difference between the expressive means and the desire to touch the mysteries of the art of India. Relevance of the research topic. Interest to Indian culture emerged in the second half of the ХХ century by Indian cinema. As soviet researchers noted, the most attractive part was a dance culture - a dynamic, plastic, entertaining and unusually expressive (body language, gestures, posture and so on). But on the other hand, the art of dance in India is for Kazakh visitors nothing more than exotic, the language of Indian dance - movement, facial expressions, gestures, body posture, and many other means of expression are still unknown to a wide audience of Kazakhstan. Inadequate knowledge of Indian language closes the door to the treasures of ancient Indian civilization. Modern dance community is encouraging the study and performance of Indian classical dance. This is a positive motivation, but there are significant errors that should not be tolerated. For example, I have seen transmissions on television and at concerts, how dancers were performing Indian dance, through dance movements and gestures showing the sky, flowers and eyes. They didn’t know lyrics of the song which were about wearing bracelets and bells to the legs. The second example: performers in dance, used Anjali gesture which is used to offer salutation to the God, Elders, Teachers and people. The Anjali gesture is kept above the head to offer salutations to the God. It is kept in front of the face to offer respects to the Teachers and Elders. It is kept in front of the chest to offer people. They are using these gestures when song lyrics indicate of her looking at the mirror and admiring herself. Lack of information on the approach of the Kathak style, as well as the disclosure of the basic components of a style for professional dancers and all wishing to learn the basics of the dance, have identified the relevance of the research topic “Kathak style in the system of Indian classical dance». These and other observations, and examples of the situation determined the rationale for this research. Object of study: Kathak as one of the styles of Indian classical dance. Subject of research: especially execution-style Kathak, its main schools and their distinctive features. Relevance of the topic has identified its main goals and objectives: The main purpose of the study is to determine the place and value of Kathak style, identification of its specific features in the general system of Indian classical dance and at the same time, full disclosure of the history of Indian dance for the Kazakh artist. For disclosure purposes followings were put forward: 1)To carry out a methodical analysis of qualitative characteristics of the basic movements and postures of the style. 2)Give the most precise meanings of the basic movements of style in order to disclose its features and differences from other styles of Indian dance. 3)On an example analysis of creativity the four outstanding performers of contemporary Indian classical Kathak style open feature dance schools they represent. The study puts forward the following hypothesis: Structuring of the phenomenon of Indian culture will more accurately define the place in it for the style of Kathak and give it a more complete characterization, that will provide an opportunity to develop the correct methods of teaching of this style to dance professionals. Degree of scrutiny. Kazakhstan's art study has a little information about classical dances of India. This issue received wide coverage in the country. There are monographs and textbooks written in English about the art of dance in India, by authors such as: Doctor Sunil Kothori, a leading historian of dance, scholar, critic, and author of 12 books on Indian dance, detailing the existing seven Indian classical dance styles, among which “ Indian dance art ” describing the style of Kathak, “ Indian dance art ” describing the style of Kuchipudi, "Indian performing arts in the past 25 years," “ Indian dance art ” describing the style of Bharata Natiyam and others. Leela Samson famous dancer style of Bharatanatyam, choreographer and author of "Rhythm in Joy”, “The Joy of Classical Dances of India ". Shobal Narayan is one of the most famous dancers in Kathak style, the author of 10 books on Indian classical dance. All these books are written in English. In 1963 Russian language publisher “Art” released a book of the famous playwright and essayist Balvanta Gargi "Theatre and dance of India” where the author perfectly describes the origins of the performing art in general, covers all art forms of India, where in each chapter briefly describes a particular type. Author as a playwright, first and foremost, reflected the emotional side of the Indian Theatre and Dance and then pointed to their quality. The book describes the four styles of Indian classical dance out of the seven currently existing styles. These are Bharatnatyam, Kathakali, Manipuri and Kathak. Kathak style is a represented in our study by one school and the example of one artist. On the web sites about Indian dance we can find many sources, such as video tutorials to facilitate obtaining the skills of execution of a style for everyone. Naturally, this version adapted for the fans to promote greater familiarity with Indian dance and obtaining health-improving effect, whereas canonized Indian dance involves a rigorous study of one style, learning all his secrets in order to be called a master of dance. In 2004 publishing center RGGU published a book by SI Ryzhakova "Indian dance - the art of transfiguration". The book is devoted to the dance culture of India, mostly about Indian classical dance. The book describes the main features of Indian Performing Arts, presented sketch of the history and theory of Indian dance, described in detail the classic styles - Kathak, Bharatnatyam, Kuchipudi, Odissi, Kathakali, Mohini-Attam, Manipuri. However, not much attention paid to it and on the "vicinity" of dance in India, its relationship with the musical arts, painting and sculpture, religious cults, drama, culture of everyday life. The book is addressed to both specialists in the field of dance, and a wide range of readers interested in art and spiritual culture of the East. In the Kazakhstan art study has been described in 5 styles of policy tool Saitova G. and O. Shubladze "Oriental dance". Almaty, 2007, which provides a brief description of the history of the origin of each style. The authors dwell more on the style of Bharatanatyam: given certain provisions of the hands, feet position, movement of the fingers, wrists and hands, head movement, eyes, body and legs, some moves. For many years, since May 1998, Akmaral Kaynazarova is a professional performer, choreographer and teacher with an active teaching career to the study of style Bharatanatyam Indian classical dance in Kazakhstan. Lack of information about Indian classical dance and in particular the style of Kathak, to disclose information on the study of this style, defined the scientific novelty of the subject. Indian dance - is a kind of narrative about the ancient Hindu cosmological ideas. Polytheism in the art of dance in India, is a reflection of Hinduism - the most unusual religions of the world where polytheism reaches epic proportions. Every gesture, glance, the motion is a kind of knowledge transfer in a given situation, etc. Knowing all these features, the ability to use all the parts in accordance with the style and the value of the lyric, requires performers to study the intricacies of the executable style of Indian dance. To date, the style of Kathak, appears as a poorly studied dance in the study of Kazakh researchers. This scientific work is the first most comprehensive experience in analyzing the style of Kathak, its unique beauty and significance in the classical dance of India. The main provisions for the defense. Indian dance culture is a complex structure. Should be distinguished classical dance with a variety of styles and folk dances, each of the elements of this complex system has a specific means of expression, areas of operation of the musical accompaniment, costumes, paraphernalia, storylines. In conformity with this every reflection of a sense correspond to certain strictly aged in their canons of gestures and postures. These elements are found in each of the eight styles, have their characteristic performance, which is their difference from each other. In this paper, respectively, the position put forward the importance of style of Kathak in the Indian classical dance that reflects a certain historical era in the history of dramatic art in India as a whole, in order to keep pristine and accurate executable movements, imbued with rigorous performance standards of style. Scientific research suggests some practical significance, which lies in the fact that its results, based on concrete examples and conclusions will be very important for all students of Kathak style. Opportunity to get acquainted with the style at the professional level, away from ethnic origin, is expected to promote tolerance in society and enrich the diversity of the Kazakh national dance school. Disclosure of the main provisions of the scientific work was reflected in its structure, which consists of a title page, contents, introduction, basic parts, consisting of two chapters, list of sources, Annex. Chapter 1. The difference styles of Indian classical dance 1.1 History of Indian classical dance Indian dances are one of the most striking elements of the culture of India. Indian dance are divided into classical and folk. The motion of classical dance were canonized by the legendary Bharata Muni, which brought together and canonized the various forms of dance, mime and drama in the book "Natyashastra" between 100-300 years. AD. In the "Natya Shastra" clarified key terms: "Natya" - which in Sanskrit means "dance" and "drama", reflecting the continuity of these concepts. Bharata speaks of "Nritya" - expressive dance, pantomime, which outlines the whole story, and "nritte" - pure dance for dance, which completely given element dancing rhythms. "This comprehensive treatise provides the finest details of makeup and costumes, it provides detailed guidance director, outlines the aesthetic principles of drama and detail the techniques of acting, conveying different emotions, the most complex postures, movements neck, chest, eye, and a variety of gait, and color of the clothes the actor , its decorations, etc. None of the documents of antiquity, we do not find such a comprehensive and detailed analysis of the drama, as in "Natyashastre. "[1, 13] Indian dance has a deep spiritual foundation, rooted in mythology and religion. Originating in ancient India, as a form of prayer, at the present stage, it represents a variety of styles: Bharata Natyam from Tamil Nadu Kathak from Uttar Pradesh Odissi from Orissa Kathakali and Mohiniattam from Kerala Manipuri of Manipur State Kuchipudi from Andhra Pradesh Mohiniattam from Kerala Each of the styles marks a special language of facial expressions and gestures, dance steps and emotions. All forms of Indian classical dance popular in the country today. All classical dances are very different from each other's movements and costumes. 1.1.1 Indian classical dance Bharatanatyam The syllable "bha" means "bhava" - feelings, emotions, "ra"- "raga" - the melody, "ta" - talam - art of rhythm, "Natyam" means "dance". His thematic and musical structure was established by court Tanjore musicians. Starting position straightened torso, bent knees and widely deployed feet - gives the dance a strict and simultaneously graceful symmetry that increased an eloquent, expressive playing eye and facial muscles. All movements in Bharatanatyam performed strictly according to the geometric path. Key figures - balanced posture with outstretched arms and legs, which gives the dance linearity. Eye, head and hands as a dancer to draw circles, straight lines and triangles. In ancient times, these movements were in the nature of magic acts. Virtuosity of execution is to convey the movements of various shades of the content of the song. This style is equally suited for both solo and group for execution. 1.1.2 Indian Classical Dance: Kathakali Kahkali - story, art, pantomimic dance-drama. He is an amazing combination of dance, drama, mime and instrumental music, he has a complex language of gestures, unique colorful costumes and makeup and special virtuosity of movement. This dance, combining mime and drama, originated in ancient Indian epics Ramayana and Mahabharata [2,16]. By tradition, Kathakali performers can only be men, and this is due to the fact that representation is characterized by militancy, the singular ferocity and unbridled masculine. Women's roles in the same play performed by young men dressed as usual. Artists from childhood exploring the art of mime and complicated language of conventional gestures and dancing to the accompaniment of not only music, but also recited. Kathakali dancer, eloquence and the expressiveness of their gestures, movements of the legs and body and facial expressions, the viewer must enter not only in an atmosphere of action, but to recreate the area in which events occur drama. Special solemnity and grandeur of Kathakali make the costume and makeup. Characters recognized by the color of makeup, maskoobrazno imposed on the person and distinguished line of complex symbols and drawings. Kathakali - a wonderful theater, which includes over one hundred different plays based on Indian epics. Play begins after sunset, when the dusk begin to be heard enchanting beats of drums, beat out intricate rhythms of Indian and lasts all night long. Each performance is so amazing, colorful and unique, so full of magic, magnificent scenes and emotions that are so imbued with a mysterious Indian atmosphere, the night flies by. And after the submission of Kathakali it seems that you have been in this tale. 1.1.3 Indian Classical Dance: Odissi Odissi - one of the oldest and most complex systems in the world of Indian dance, held for nearly two millennia, the path of continuous development. Odissi originated in Orissa. This is a very graceful, gentle, very Canonical style. His main quality is the refinement and aesthetic style is based on the close relationship of poetry and music. It is sometimes called Indian ballet. Its characteristic feature is an expressive sculptural poses and dance moves. The style is built on two basic positions: tribangi (triple bend the body), which symbolizes the feminine and chouka (four corners), symbolizing the male principle. 1.1.4 Indian Classical Dance: Manipur State of Manipur in northeastern India, located in a valley a paradise of beauty, in the mountains of Assam at an altitude of 2000 meters above sea level. Due to its isolation from foreign influences, Manipuri dance is preserved in its original form. Familiarity with the dance contributed by Rabindranath Tagore. Raslila - the most typical of Manipuri dances. It is based on the game of love with the young cowherd Krishna. Movement of the dancer, differ astonishing grace, elegance and smooth motion slow pace, light step of performers; posture with clenched knees like a figure eight, the expression still faces - a dreamy, lyrical, that is the hallmark of any other Manipuri classical dance of India. 1.1.5 Indian Classical Dance: Kuchipudi Homeland dance Kuchipudi - a village called Kuchelapuram in Andhra Pradesh, southern India, where the tradition of classical dance dates back to ancient times, as evidenced by the carvings of dancers in the temples, as Amaravati. The unique charm of Kuchipudi lies in the subtle fusion of classical dance and drama with scenes from Indian epics, the abstract and figurative dance are combined with a strong dramatic element. Born in the XV century, it was performed during a funeral procession that honored the gods. Movement in Kuchipudi rounded and dashing, and combine smooth moves with leaps. They do not have one central position, around which the entire vehicle. Pose, half-sitting with legs bent and diluted by the knees the most commonly used. Moving forward, when the thumbs 2 feet crossed - this is typical for Kuchipudi gait with legs crossed, running in a certain rhythm. Kuchipudi is very energetic and "jumping" dance form. Kuchipudi is executed at a rapid pace. 1.1.6 Indian classical dance: Mohiniattam The literary meaning of the word Mohini - virgin, seduces, seduces, stolen hearts, illusory. There is a well-known story of how Vishnu assumed the form of a beautiful Mohini to Amrita (nectar of immortality) can not fall into the hands of demons, and an episode of the destruction of the demon Bhasmasury. In the context of these stories probably Vaisnavas gave the name of Mohiniattam this form of dance. Mohiniattam - an exceptionally beautiful temple dance form. Since ancient times, its performers were only women. Undulating, rounded dance moves are graceful, incredibly feminine. As a legacy of dance Devadasi (God's Bride) Mohiniattam - a dance-prayer. His main theme - the love and devotion to God. Thus, analysis of the six dance styles of Indian classical dance shows, as the unity of their origin and their distinctive features. The unity of the plot in each style has its own specific expression. And, of course, the professionals of Indian dance immediately distinguish one style from another. Preserving the art of India at the same time, they enrich the diversity of classical dance sculpture, rhythm, dramatic play. |