Angikabhinaya, Angika-abhinaya, Āṅgikābhinaya: 6 definitions
Introduction:
Angikabhinaya 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.
In Hinduism
Natyashastra (theatrics and dramaturgy)
Source: Wisdom Library: Nāṭya-śāstraĀṅgikābhinaya (आङ्गिकाभिनय, “physical expression”) is a Sanskrit technical term used in Nāṭyaśāstra. It is of three types:
- Śākhā (‘branch’, various movements of the hand),
- Aṅkura (‘sprout’, movements of the hand supplemental to an idea),
- Nṛtta (‘dance’, made up of karaṇas and aṅgahāras).
Aṅgikābhinaya refers to the “exposition by means of the gestures of the body and limbs”.
Source: archive.org: Illustrations of Indian Music and Dance in Western Indian Style (natya)Angikābhinaya (अन्गिकाभिनय) or simply āṅgika refers to the first of four categories of abhinaya (histrionic representation). Angika-abhinaya is an expression through gestures, postures, movements of each part of the body and gait. 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 dancesAngika (or physical): One of the four Abhinaya (expressional aspect of dance). Meaning is conveyed through body movements, including hastamudras (hand gestures), mandis (postures) and even the walk of the dancer. It is named as such because it is expressed in Three ways by anga, pratyanga and upanga.
Source: Shodhganga: The significance of the mūla-beras (natya)Āṅgikābhinaya (आङ्गिकाभिनय) refers to the “gesture language of the limbs” 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.—Āṅgika means that which is derived from the aṅga—the body limbs. Āṅgika-abhinaya is the gesture language of the limbs. Dance is an art that expresses itself through the medium of body, and therefore, āṅgikābhinaya is essential for any dance and especially for any classical dance of India. The whole body is the sole medium of expression in dance and hence each part of the body, from major limbs to minor limbs, is minutely concentrated on.
Āṅgikābhinaya is of three types:
- aṅgas or major limbs,
- pratyaṅgas or minor limbs,
- upāṅgas or subsidiary limbs.
Thus one can find that āṅgikābhinaya is not an exercise or rigid movement of the body, but it brings out the aesthetic sense in the spectator when it is combined with the other three elements of abhinaya.
The āṅgikābhinaya is elaborated in the chapters 8-13 of Bharata’s Nāṭyaśāstra, chapters 2-6 of Nandikeśvara’s Abhinayadarpaṇa, chapters 1-6 and 8-10 of Bharatārṇava, chapters 1-11 of Abhinaya Navanita and chapter 5 of Abhinaya Sāra Saṃputa.
Source: Shodhganga: Elements of Art and Architecture in the Trtiyakhanda of the Visnudharmottarapurana (natya)Āṅgikābhinaya (आङ्गिकाभिनय) or simply Āṅgika 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 āṅgikābhinaya represents the physical movements. This type of acting establishes the importance of gestures and postures in the path 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: Abhinaya, Angika.
Full-text (+140): Angika, Tara, Bhru, Cubuka, Hanu, Puta, Shiras, Kapola, Griva, Nashin, Dasana, Vadana, Drishti, Jihva, Vakshas, Kurpara, Abhinaya, Adhara, Janu, Udara.
Relevant text
Search found 4 books and stories containing Angikabhinaya, Angika-abhinaya, Āṅgika-abhinaya, Āṅgikābhinaya; (plurals include: Angikabhinayas, abhinayas, Āṅgikābhinayas). 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)
Observations based on Nāṭyaśāstra < [Chapter 5 - Conclusion]
Secondary sources on Nāṭya < [Introduction]
Nṛtta as a division of Āṅgika-abhinaya < [Chapter 1 - Nāṭya]
Dasarupaka (critical study) (by Anuru Ranjan Mishra)
The description of rūpa, rūpaka, nāṭya, nṛtya and nṛtta < [Introduction]
Uday Shankar < [July-August 1933]
Dance Traditions of South India < [January-February 1935]
Our Forum < [January-February 1931]
Vishnudharmottara Purana (Art and Architecture) (by Bhagyashree Sarma)
1.3. Elements of Drama (a): Acting < [Chapter 3 - Drama and Dance]
1.3. Elements of Drama (c): Bodily Movements < [Chapter 3 - Drama and Dance]