In Hinduism

Natyashastra (theatrics and dramaturgy)

Source: Wisdom Library: Nāṭya-śāstra

Āṅgikābhinaya (आङ्गिकाभिनय, “physical expression”) is a Sanskrit technical term used in Nāṭyaśāstra. It is of three types:

1. Śākhā (‘branch’, various movements of the hand),
2. Aṅkura (‘sprout’, movements of the hand supplemental to an idea),
3. Nṛtta (‘dance’, made up of karaṇas and aṅgahāras).

Source: archive.org: The mirror of gesture (abhinaya-darpana)

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 dances

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: 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:

1. aṅgas or major limbs,
2. pratyaṅgas or minor limbs,
3. 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.

context information

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).

See also (Relevant definitions)

Partial matches: Abhinaya, Angika.

Full-text (+19): Abhinaya, Cubuka, Hanu, Tara, Bhru, Puta, Shiras, Adhara, Janu, Dasana, Vadana, Drishti, Jihva, Vakshas, Kapola, Griva, Nasi, Kurpara, Udara, Skanda.

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Search found 1 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:

Dasarupaka (critical study) (by Anuru Ranjan Mishra)

The description of rūpa, rūpaka, nāṭya, nṛtya and nṛtta < [Introduction]

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