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)
Āṅgikābhinaya (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”.
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.
Angika (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.
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.
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 (+148): Abhinaya, Angika, Bhru, Cubuka, Nacci, Vajjana, Hanu, Drishti, Griva, Jihva, Janga, Prishtha, Kurpara, Vakshas, Kati, Tara, Skandha, Bahu, Udara, Kapola.
Relevant text
Search found 12 books and stories containing Angikabhinaya, Angika-abhinaya, Āṅgikābhinaya, Āṅgika-abhinaya; (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)
Analysis of technical terms: Nāṭya, Nṛtta, Nṛtya < [Chapter 1 - Nāṭya]
Secondary sources on Nāṭya < [Introduction]
Observations based on Nāṭyaśāstra < [Chapter 5 - Conclusion]
Arts in the Puranas (study) (by Meena Devadatta Jeste)
3. Four types of Abhinaya < [Chapter 2 - Dance in the Puranas]
5. The concepts of Riti, Vritti and Pravritti < [Chapter 6 - Literature in the Puranas]
9. Natya or Dramaturgy < [Chapter 6 - Literature in the Puranas]
Society as depicted in the Chaturbhani (study) (by Mridusmita Bharadwaj)
Part 3 - Bhāṇa as Prescribed in Sanskrit Dramaturgy < [Chapter 2 - Introduction to Dṛśyakāvya and Bhāṇa kind of Rūpaka]
Hastalaksanadipika a critical edition and study (by E. K. Sudha)
1. Abhinayadarpana—the basic layout < [Chapter 3 - Later developments of dramatic techniques]
3. Relevance of the Abhinaya-darpana < [Chapter 3 - Later developments of dramatic techniques]
3. Concept of Abhinaya in general < [Chapter 1 - Introduction]
Kohala in the Sanskrit textual tradition (Study) (by Padma Sugavanam)
Part 2.2 - Contents of Dattilakohalīyam < [Chapter 4 - Works attributed to Kohala]
Kohala and Nāṭya (2): Number of Aṅgas of Nāṭya < [Chapter 2 - Kohala as seen in citations]
Dance Traditions of South India < [January-February 1935]
Uday Shankar < [July-August 1933]
The Aesthetics of Indian Dance < [January – March, 1985]