In Hinduism

Natyashastra (theatrics and dramaturgy)

Source: Wisdom Library: Nāṭya-śāstra

Aṅkāvatāra (अङ्कावतार) refers to the “transitional scene”. According to the Nāṭyaśāstra, it is one of the five explanatory devices (Arthopakṣepaka). These ‘explanatory devies’ were adopted by the playwright for clarifying the obscurities that were liable to occur due to his extreme condensation of the subject-matter. The term is used throughout nāṭyaśāstra literature.

Source: archive.org: Natya Shastra

Aṅkāvatāra (अङ्कावतार).—One of the five explanatory devices (arthopakṣepaka);— As in practice it falls between two Acts, or within an Act, and relates to the purpose of the Seed (bīja), it is called a Transitional Scene (aṅkāvatāra).

context information

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).

General definition (in Hinduism)

Source: Wisdom Library: Hinduism

Aṅkāvatāra (अङ्कावतार) means the “Transitional Scene”, and is one of the Five Explanatory Devices (arthopakṣepaka) of dramatic play (nāṭya), according to the Nāṭyaśāstra chapter 21.

Languages of India and abroad

Sanskrit dictionary

Source: DDSA: The practical Sanskrit-English dictionary

Aṅkāvatāra (अङ्कावतार).—when an act, hinted by persons at the end of the preceding act, is brought in continuity with the latter, it is called अङ्कावतार (aṅkāvatāra) (descent of an act), as the sixth act of Śākuntala or second of Mālavikāgnimitra (aṅkānte sūcitaḥ pātraistadaṅka- syāvibhāgataḥ | yatrāṅakovataratyeṣo'ṅkāvatāra iti smṛtaḥ S. D.311). The Daśarūpa defines it differently; अङ्कावतारस्त्वङ्कान्ते पातोऽङ्कस्याविभागतः । एभिः संसूचयेत्सूच्यं दृश्यमङ्कैः प्रदर्शयेत् (aṅkāvatārastvaṅkānte pāto'ṅkasyāvibhāgataḥ | ebhiḥ saṃsūcayetsūcyaṃ dṛśyamaṅkaiḥ pradarśayet) 3.56.

Derivable forms: aṅkāvatāraḥ (अङ्कावतारः).

Aṅkāvatāra is a Sanskrit compound consisting of the terms aṅka and avatāra (अवतार).

Source: Cologne Digital Sanskrit Dictionaries: Monier-Williams Sanskrit-English Dictionary

Aṅkāvatāra (अङ्कावतार):—[from aṅka > aṅk] m. the close of a dramatic act (preparing the audience for the following one).

Source: Cologne Digital Sanskrit Dictionaries: Goldstücker Sanskrit-English Dictionary

Aṅkāvatāra (अङ्कावतार):—[tatpurusha compound] m.

(-raḥ) That part of the end of an act which introduces or prepares for the following act of a drama. E. aṅka and avatāra.

[Sanskrit to German]

Ankavatara in German

context information

Sanskrit, also spelled संस्कृतम् (saṃskṛtam), is an ancient language of India commonly seen as the grandmother of the Indo-European language family (even English!). Closely allied with Prakrit and Pali, Sanskrit is more exhaustive in both grammar and terms and has the most extensive collection of literature in the world, greatly surpassing its sister-languages Greek and Latin.

Kannada-English dictionary

Source: Alar: Kannada-English corpus

Aṃkāvatāra (ಅಂಕಾವತಾರ):—[noun] continuation of next act of a play with same theme with which the previous act ended.

context information

Kannada is a Dravidian language (as opposed to the Indo-European language family) mainly spoken in the southwestern region of India.

See also (Relevant definitions)

Partial matches: Avatara, Anka.

Starts with: Ankavatarana.

Ends with: Lankavatara, Saddharmalankavatara.

Full-text: Arthopakshepaka, Ankavatarana.

Relevant text

Search found 3 books and stories containing Ankavatara, Aṅkāvatāra, Anka-avatara, Aṅka-avatāra, Amkavatara, Aṃkāvatāra; (plurals include: Ankavataras, Aṅkāvatāras, avataras, avatāras, Amkavataras, Aṃkāvatāras). You can also click to the full overview containing English textual excerpts. Below are direct links for the most relevant articles:

Dramaturgy in the Venisamhara (by Debi Prasad Namasudra)

Arthopakshepakas (modes of Introduction) < [Chapter 4 - Dramaturgy in Veṇīsaṃhāra]

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Dasarupaka (critical study) (by Anuru Ranjan Mishra)

Part 13 - Technical Aspects of a Nāṭaka < [Chapter 1 - Nāṭaka (critical study)]

Part 11 - Technical Aspects of a Vyāyoga < [Chapter 5 - Vyāyoga (critical study)]

Part 11 - Technical Aspects of a Ḍima < [Chapter 4 - Ḍima (critical study)]

+ 6 more chapters / show preview

Natyashastra (English) (by Bharata-muni)

Chapter XXI - Limbs of Segments (sandhi)

Part 3 - Literary Structure of the Drama < [Introduction, part 1]

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