Signature and Name of Invigilator

Roll No.
(In figures as per admission card)

1. (Signature)
(Name)

Roll No.

2. (Signature)
(Name)

Test Booklet No.

J6 5 0 8
Time : 2 hours]

(In words)

PAPERIII

PERFORMING ARTS

Number of Pages in this Booklet : 32

[Maximum Marks : 200

Number of Questions in this Booklet : 26

Instructions for the Candidates

U U

1. Write your roll number in the space provided on

the top of this page.

1. U DU U S U UU U U
2. U U U,
U S U U

2. Answers to short answer/essay type questions are

to be given in the space provided below each question
or after the questions in the Test Booklet itself.

U U

No Additional Sheets are to be used.

3. U U U, -S U
U U -S
U U

3. At the commencement of examination, the question

booklet will be given to you. In the first 5 minutes,
you are requested to open the booklet and
compulsorily examine it as below :

(i) -S U U U U U
U U SUU-U S
SU U

(i) To have access to the Test Booklet, tear off the

paper seal on the edge of this cover page. Do not
accept a booklet without sticker-seal and do not
accept an open booklet.

(ii) U DU U U U -S DU
U U U U U U
S DU / U
UU U U
S SU U UUU
S U U -S U
U
-S U UQ

(ii) Tally the number of pages and number of

questions in the booklet with the information
printed on the cover page. Faulty booklets due
to pages/questions missing or duplicate or not
in serial order or any other discrepancy should
be got replaced immediately by a correct booklet
from the invigilator within the period of 5
minutes. Afterwards, neither the question
booklet will be replaced nor any extra time will
be given.

4. U U

4. Read instructions given inside carefully.

5. One page is attached for Rough Work at the end of
the booklet before the Evaluation Sheet.

5. UU-S (Rough Work) U

U DU

6. If you write your name or put any mark on any part

of the Answer Sheet, except for the space allotted for
the relevant entries, which may disclose your
identity, you will render yourself liable to
disqualification.

6. U-S U
, U
U U U
7. U # U U-S U
UU U U #
U U U U

7. You have to return the Test booklet to the

invigilators at the end of the examination
compulsorily and must not carry it with you outside
the Examination Hall.

8. / U ZU S U

8. Use only Blue/Black Ball point pen.

9. Use of any calculator or log table etc. is prohibited.

9. U (UU) U U

10. There is NO negative marking.

10. U U

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P.T.O.

PERFORMING ARTS
DANCE / DRAMA / THEATRE

/ /
PAPERIII

-III
Note :

This paper is of two hundred (200) marks containing four (4) sections. Candidates
are required to attempt the questions contained in these sections according to the
detailed instructions given therein.

U :

S U l III
U S UU - U
(y) U (w) U U UU U
S U U

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SECTION - I

UI
COMMON TO DANCE / DRAMA / THEATRE

/ U / U

Note :

This section contains five (5) questions based on the following

paragraph. Each question should be answered in about thirty (30)
words and carries five (5) marks.
(5 x 5 = 25 Marks)

U :

U U (z)
(x) (z) U

(5 x 5 = 25 )

Whether or not the Na- tyas a- stra was composed or written in a particular
year by a particular person is not as important a question as the fact that, like the
Vedas, the Na- tyasa- stra lays down the foundations of a theory and practice of the
Indian arts which was adhered to by theoreticians and practising artists for a
period of approximately 2000 years (until the nineteenth century or the modern
period) consistently throughout the subcontinent. It had validity and applicability
outside the country, especially in Asia, and continues to have relevance today for
articulating a theory of art which can be clearly distinguished from Aristotelian
or subsequent theories of aesthetic and art in the post-Renaissance West. The
affinity between Bharatas world-view and his theory of imagination and those
of Longinus and Meister Eckhart and later of Blake and Yeats, is a subject too
vast to be covered here. These names are being mentioned only to remind
ourselves that the theory of Bharata transcends the cultural specificity of India
despite its being firmly embedded in the specific culture.

KS U mU U
, KS U h U
U 2000 (19 ) h U
U U m UU U U , M ,
U h ScU U
U US U U h ScU M
U U h U
SUU U U U U , S U
U U U U
h cU S U U U U S cU
U
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P.T.O.

1.

When was the Na- tyas a- stra composed or written ?

2.

Write your opinion regarding the Authorship of Na- tyasa- stra.

KS U ?

KS d U

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3.

4.

Why Na- tyas a- stra is considered as the fifth Veda ?

KS ?

The Natyasastric imagination is still found in todays performances - Give your

opinion.

KS U

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P.T.O.

5.

Trace the applicability of the Na- tyas a- stra tradition outside India.

U U S UU

SECTION - II

UII
COMMON TO DANCE / DRAMA / THEATRE

/ U / U

Note :

This section contains fifteen (15) questions each to be answered in

about thirty (30) words. Each question carries five (5) marks.
(5x15=75 marks)

(15) (30)
(5)
(5x15=75 )

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6.

The Character Karna of Mahabharata is adapted in Indian Dance and Drama from
time to time - Discuss with references.

U U U U U - U

7.

If you are asked to Portray an Episode from an Indian Epic, which one would you
select and why ?

U U U
U U ? U

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P.T.O.

8.

Write about Mattavarini of Na- tyasa- stra.

9.

Differentiate Nritt from Nritya.

KS U

U U SC

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10.

11.

What is Tandava lakshana ?

U ?

Define Aharya Abhinaya.

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P.T.O.

12.

Define the four Vrittis.

13.

What is Satwika Bhava - Mention their kinds.

U U

- U

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10

14.

15.

What is the difference between Vibha- va and Anubhava ?

U U ? ScU

Write a short note on Dhananjaya.

U U

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11

P.T.O.

16.

Name five Indian Talas with their respective metric cycle and division.

17.

Point out the relationship of Indian Classical Raga in relation to the six seasons.

U U U U U ScU

U U S U ScU

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18.

19.

Write a short note on Yakshagana.

U U

How many types of Chou are there ? Give their names and mention atleast one
difference among them.

UU ? U U --

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P.T.O.

20.

Why is Siddendra Jogi important in Indian Performing Arts ?

U ? ScU

SECTION - III

UIII
Note :

This section contains five (5) questions from each of the electives/
specialisations. The candidate has to choose only one elective/
specialisation and answer all the five questions from it. Each question
carries twelve (12) marks and is to be answered in about two hundred
(200) words.
(12x5=60 marks)

U / (5)
U / U U
(12) U (200)

(12x5=60 )
ELECTIVE - I / U - I

DANCE /
21.

Trace the elements of Ras Dance in various puranas and relate them to the practicing
traditional forms.

U U U UU M
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14

22.

Evaluate the importance of transition of male performers in female roles.

L U S U U
23.

Point out the major changes that took place while shifting the classical dances from the
temple to stage. How do you assess the loss of indigenous flavour due to this shift.

S U U SU U SU S
U
24.

The classical forms of Indian Dances cannot always adopt contemporary themes.
Comment with your opinion.

U UU M U U U
ScU
25.

The popularity of the Film Dances is a Threat to the Dance Culture of our Country.
Discuss with your views.

, h U S U ScU

OR /
ELECTIVE - II / U - II

DRAMA / THEATRE /
21.

U / U

Are Lokavrittanu Karanam Natyam and Imitation of an Action are same or are
they opposite ? Discuss.

U K U U U ?

22.

What are the Elements of Drama ? Which is the most important element and why ?

U - ? - U ?
23.

As a Director, between Proscenium and Non-Proscenium which is your preference ?

Discuss with specific reasons.

M U U U U ? cU U

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P.T.O.

24.

All the areas of the stage are not equally. Emphatic there are certain methods to give
emphasis on stage - Discuss.

U M , U U h

25.

An Actor Prepares of Stanislavsky has a great role to play for the Development of an
actor - Do you agree ? Justify your answer.

SSS U S
? U

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SECTION - IV
IV
Note :

This section consists of one essay type question of forty (40) marks to
be answered in about one thousand (1000) words on any of the
following topics.
(40x1=40 marks)

(40)
, (1000)

(40x1=40 )

DANCE /
26.

Discuss how contemporary themes are incorporated in your Classical Dance Style from
the origin till date.

U S ScU

OR /
DRAMA / THEATRE / U / U

Contemporary Theatre is going back to the roots of the folk theatre for its existence Discuss.

S U U U U ScU

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25

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FOR OFFICE USE ONLY

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51

76

27

52

77

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53

78

29

54

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30

55

80

31

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81

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84

10

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11

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12

37

62

87

13

38

63

88

14

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64

89

15

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65

90

16

41

66

91

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42

67

92

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93

19

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69

94

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70

95

21

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100

Marks
Obtained

Question
Number

Marks
Obtained

Question
Number

Marks
Obtained

Question
Number

Marks
Obtained

Question
Number

Marks Obtained

Total Marks Obtained (in words) .....................................

(in figures) ....................................
Signature & Name of the Coordinator ...............................
(Evaluation)

J6508

Date .............................

32