Vacikabhinaya, Vācikābhinaya, Vacika-abhinaya: 4 definitions
Introduction:
Vacikabhinaya means something in Hinduism, Sanskrit. If you want to know the exact meaning, history, etymology or English translation of this term then check out the descriptions on this page. Add your comment or reference to a book if you want to contribute to this summary article.
Alternative spellings of this word include Vachikabhinaya.
In Hinduism
Natyashastra (theatrics and dramaturgy)
Source: archive.org: Illustrations of Indian Music and Dance in Western Indian Style (natya)Vācikābhinaya (वाचिकाभिनय) or simply vācika refers to the first of four categories of abhinaya (histrionic representation). Vācika-abhinaya is the use of a word, poem, song and music. Abhinaya is the imitation of the thing seen by self or is an expression of sentiment experienced by oneself.
Source: Indian Classical Dances: Techniques of classical dancesVachika (vocal/verbal): One of the four Abhinaya (expressional aspect of dance). It is used formally today by members of the orchestra or supporting, non-dancing cast.
Source: Shodhganga: The significance of the mūla-beras (natya)Vācikābhinaya (वाचिकाभिनय) refers to the “verbal expression” and represents one of the four kinds of abhinaya (“histrionic representation”) as used within the classical tradition of Indian dance and performance, also known as Bharatanatyam.—Vācikābhinaya is the art of verbal or vocal expression in dramatic presentation. The combination of the dancer and the vocalist, the vocalist and the instrumentalists, the instrumentalists and the dancer are very important so that there is a perfect sychronisation among them. Thus one finds that abhinaya in dance includes gīta or vocal music, vādya or instrumental music and tāla or rhythm. Clarity is essential in abhinaya and vācikābhinaya acts as a bridge between the spectator and the performer. Without vācikābhinaya, the dance performance would remain incomplete.
Bharata speaks of vācikābhinaya and the rules needed for it in the Nāṭyaśāstra chapters 15-20.The main subjects discussed cover speech, vowels, consonants, recitation, prose, verse, metre, pause, pitch and many more aspects that are needed for nāṭya. The thirty-six characteristics or lakṣaṇas for a dramatic composition, the ten merits or guṇas, the ten demerits or doṣas in a poetic composition, rules regarding the use of languages or bhāṣā-vidhāna and the six embellishments or ornamentations or alankārās are discussed in detail.
Source: Shodhganga: Elements of Art and Architecture in the Trtiyakhanda of the Visnudharmottarapurana (natya)Vācikābhinaya (वाचिकाभिनय) or simply Vācika refers to one of the four divisions of Abhinaya or “ways to convey or represent one’s emotion to others” (in Sanskrit Drama), according to the Viṣṇudharmottarapurāṇa, an ancient Sanskrit text which (being encyclopedic in nature) deals with a variety of cultural topics such as arts, architecture, music, grammar and astronomy.—Abhinaya (“acting”) is of four varieties, according to the Viṣṇudharmottarapurāṇa. The second variety of acting which is called vācikābhinaya is that kind of acting which is expressed by words. The term vācika itself establishes the importance of conversation or utterance of words for the process of acting.
Natyashastra (नाट्यशास्त्र, nāṭyaśāstra) refers to both the ancient Indian tradition (shastra) of performing arts, (natya—theatrics, drama, dance, music), as well as the name of a Sanskrit work dealing with these subjects. It also teaches the rules for composing Dramatic plays (nataka), construction and performance of Theater, and Poetic works (kavya).
See also (Relevant definitions)
Partial matches: Vacika, Abhinaya.
Full-text: Vacika, Abhinaya, Utterance, Abhinayadarpana, Decoration.
Relevant text
Search found 4 books and stories containing Vacikabhinaya, Vācikābhinaya, Vacika-abhinaya, Vācika-abhinaya; (plurals include: Vacikabhinayas, Vācikābhinayas, abhinayas). You can also click to the full overview containing English textual excerpts. Below are direct links for the most relevant articles:
Gati in Theory and Practice (by Dr. Sujatha Mohan)
An analysis of the chapters in Nāṭyaśāstra < [Chapter 1 - Nāṭya]
Relevance of Gati in Rūpakas < [Chapter 3 - Application of gati in Dṛśya-kāvyas]
Nāṭyaśāstra and regional deśi art forms < [Chapter 4 - Practice of Gati]
Vishnudharmottara Purana (Art and Architecture) (by Bhagyashree Sarma)
1.3. Elements of Drama (a): Acting < [Chapter 3 - Drama and Dance]
Dasarupaka (critical study) (by Anuru Ranjan Mishra)
Part 3-6 - Bhāṇa rules < [Chapter 2 - Bhāṇa (critical study)]
Natyashastra (English) (by Bharata-muni)