In Hinduism

Natyashastra (theatrics and dramaturgy)

Source: Wisdom Library: Nāṭya-śāstra

Garbhasandhi (गर्भाङ्ग) refers to the “segments (sandhi) of the development part (garbha)”, according to the Nāṭyaśāstra chapter 21. It can also be spelled as Garbhasaṃdhi and is also known by the name Garbhāṅga. These elements are essential for a successful dramatic play (nāṭya). The development part represents one of the five segments (sandhi) of the plot (itivṛtta or vastu) of a dramatic composition (nāṭaka).

There are thirteen elements of the development segment (garbhasandhi) defined:

1. abhūtāharaṇa (mis-statement),
2. mārga (indication),
3. rūpa (supposition),
4. udāharaṇa (exaggeration),
5. krama (progress),
6. saṃgraha (propitiation),
7. anumāna (deduction),
8. prārthanā (supplication),
9. ākṣipta (revelation),
10. toṭaka (quarrel),
11. adhibala (outwitting),
12. udvega (dismay),
13. vidrava (consternation).

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).

In Buddhism

Buddhist philosophy

Source: Google Books: The Treasury of Knowledge: Book six, parts one and two (philosophy)

Garbhasandhi (गर्भसन्धि).—The “dramatic juncture of the development or catastasis” in which, following many verbal exchanges, exemplified by episodic discussions, the deliberations are decisevely determined. The development comprises the following thirteen aspects:

1. abhūtāharaṇa (‘deliberate mis-statement’ of events that never took place),
2. mārga (‘clear indication of the course of action’ one intends to follow),
3. vitarka (‘consequent supposition’ or hypotheses expressing doubt),
4. udāharaṇa (‘employment of exaggerated’ examples or hyperbole),
5. krama (‘employment of progressive similes’ to obtain knowledge of another person’s sentiments),
6. saṅgraha (‘winning over’ another person by sweet words and gifts),
7. anumāna (‘making of an inference’ or conjecture),
8. prārthanā (‘solicitation’),
9. ākṣipta (‘painful disclosure’ of the desired object of the plot),
10. toṭaka (‘quarreling’),
11. adhibala (‘outwitting’ through guile),
12. udvega (‘distress’ caused by spearation or exposure to enemies),
13. vidrava (‘consequent panic’ or consternation).

context information

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Languages of India and abroad

Kannada-English dictionary

Source: Alar: Kannada-English corpus

Garbhasaṃdhi (ಗರ್ಭಸಂಧಿ):—

1) [noun] (Jain.) the period of development of the embryo of a spiritual soul.

2) [noun] (rhet.) one of the five stages in a drama, in which the cause for the major or main effect is found out or is sought to be known.

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: Garbha, Sandhi.

Full-text: Prarthana, Adhibala, Kapatashraya, Anumana, Vidrava, Udvega, Udaharana, Garbhasamdhi, Sandhyanga, Vitarka, Samgraha, Abhutaharana, Garbhanga, Krama, Totaka, Marga, Rupa, Akshipta.

Relevant text

Search found 5 books and stories containing Garbhasandhi, Garbha-sandhi, Garbhasamdhi, Garbhasaṃdhi; (plurals include: Garbhasandhis, sandhis, Garbhasamdhis, Garbhasaṃdhis). You can also click to the full overview containing English textual excerpts. Below are direct links for the most relevant articles:

Jivanandana of Anandaraya Makhin (Study) (by G. D. Jayalakshmi)

Analysis of Garbha Sandhi < [Chapter 6 - Dramatic aspects of the Jīvanandana Nāṭaka]

Sandhis and Sandhyaṅgas < [Chapter 6 - Dramatic aspects of the Jīvanandana Nāṭaka]

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Mudrarakshasa (literary study) (by Antara Chakravarty)

5. Deliberation of the Pañcasandhi in Mudrārākṣasa < [Chapter 6 - Other Literary Estimates of Mudrārākṣasa]

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Dramaturgy in the Venisamhara (by Debi Prasad Namasudra)

Sandhi (the combination of different phases) < [Chapter 4 - Dramaturgy in Veṇīsaṃhāra]

Description of Ḍima < [Chapter 2 - Nature and Classification of Sanskrit Drama]

Chapter 5 - Major findings and Concluding observations

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Dasarupaka (critical study) (by Anuru Ranjan Mishra)

Part 10 - Application of the Junctures (sandhi) in a Prakaraṇa < [Chapter 10 - Prakaraṇa (critical study)]

Part 7 - Application of the Junctures (sandhi) in a Samavakāra < [Chapter 6 - Samavakāra (critical study)]

Similarity between the Daśarūpaka and the Nāṭyaśāstra < [Introduction]

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Shishupala-vadha (Study) (by Shila Chakraborty)

Śiśupālavadha is an epic < [Introduction]

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