Text 136]
Rūpa Gosvāmī's Meeting with the Lord
69
prastutākṣepicitroktyā yat tad āmukham īritam
When Śrīla Rāmānanda Rāya inquired about the arrangement for introducing the assembly of players in the drama, Rūpa Gosvāmī replied that when the players first enter the stage in response to the time, the introduction is technically called  pravartaka . For an example one may consult the  Antya-līlā , First Chapter, verse 17. Śrīla Bhaktisiddhānta Sarasvatī Thākura says that the introduction, which is technically called  āmukha , may be of five different kinds, according to the  Sāhitya-darpaṇa  (6.288):
udghātyakaḥ kathodghātaḥ prayogātiśayas tathā pravartakāvalagite pañca prastāvanā-bhidāḥ
Introductions may be classified as follows: (1)  udghātyaka , (2)  kathodghāta , (3)  prayogātiśaya , (4)  pravartaka  and (5)  avalagita . These five kinds of introduction are called  āmukha . Thus Śrīla Rāmānanda Rāya asked which of the five introductions had been employed, and Śrīla Rūpa Gosvāmī replied that he had used the introduction called the  pravartaka .
TEXT 135
অস্কিপ্ত: কালসাম্যেন প্রবেশ: শ্রাং প্রবর্তক: ॥ ১৩৫ ॥
ākṣiptaḥ kāla-sāmyena praveśaḥ syāt pravartakaḥ
SYNONYMS
ākṣiptaḥ —set in motion;  kāla-sāmyena —by a suitable time;  praveśaḥ —the entrance;  syāt —should be;  pravartakaḥ —named  pravartaka .
TRANSLATION
“‘When the entrance of the actors is set in motion by the arrival of a suitable time, the entrance is called  pravartaka .’
PURPORT
This verse is from  Nāṭaka-candrikā  (12) by Śrīla Rūpa Gosvāmī.
TEXT 136
সোহয়ং বসন্তসময়: সমিয়ায় যস্মিন্ পূর্ণং তমীশ্বরমূপোঢ়-নবাম্বুরাগম্ ।