Angikabhinaya, aka: Angika-abhinaya, Āṅgikābhinaya; 5 Definition(s)
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.
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”.Source: archive.org: The mirror of gesture (abhinaya-darpana)
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: archive.org: Illustrations of Indian Music and Dance in Western Indian Style (natya)
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.Source: Indian Classical Dances: Techniques of classical dances
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: The significance of the mūla-beras (natya)
Natyashastra (नाट्यशास्त्र, nāṭyaśāstra) refers to both the ancient Indian tradition (śāstra) of performing arts, (nāṭya, e.g., 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) and poetic works (kavya).
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