Drametics MPA

Bloom’sTaxonomyLevels: 1.Remember 2.Understand 3. Application 4. Analysis 5.Evaluation 6.
Creation
Programme Name: M.P.A (Dramatics)
Programme Specific Outcome (PSO)
PSO1 Understand the cultural and historical nature of artistic creation

PSO2 Recognize the ability of art to create meaning and illuminate aspects of human experience
PSO3 Apply skills of listening, articulation, awareness and collaboration through the creation of performance as a member of an ensemble.
PSO4 Demonstrate principles of stage Acting/ directing (including an understanding of staging, imagery, pace, concept, and acting) by
directing the plays.
PSO5 Develop and apply research skills in writing about dramatic texts and theatrical productions in relation to social, artistic, and
intellectual contexts.
PSO6 Participate in the collaborative creation of theatre through the application of design skills.
PSO7 Demonstrate understanding of the different technologies and techniques used in the creation of theatre.
PSO8 Demonstrate a physical understanding of a variety of theatrical forms, individual movement vocabulary, and technique through
performance.
PSO9 Develop physical and artistic self-awareness and integrate theory into the physical practice.
PSO10 Demonstrate visual, kinesthetic, and textual literacy of various theatrical forms through informed writing and conversations about
artistic works.
PSO11 Articulate in written and verbal form the role of thetare in social, cultural, and historical contexts.
The Maharaja Sayajirao University of Baroda
Faculty of Performing Arts Academic Year 2020-21
Department of Dramatics
M.P.A.(DRAMATICS): Regular Programme
Core / Elective / Foundation
Year I DRM 2101: Western Drama-I Credits / Hours per week 03
Year of Introduction: 2020-21

Semester I Maximum Marks / Grade 100
Year of Syllabus Revision:
Mode of Transaction Lectures and Tutorials

Course Outcome (CO) DRM 2101
CO1 To erudition of Shakespearean drama
CO2 To understand progression in dramatic structure
CO3 To apprehend American Drama
CO4 To preview the advance techniques of Shakespeare/American/ playwrights/play
Unit Topic/Unit Contact Weightage BT CO PSO Element Relevan Relation

No. Hours (%) Level s of ce to to
Employa Local Gender
bility (L)/ (G),
(Emp)/ National Environ
Entrepre (N)/ ment and
neurship Regional Sustaina
(Ent)/ (R)/Glob bility
Skill al (G) (ES),
Develop develop Human
ment mental Values
(SD) needs (HV)and
Professio
nal
Ethics
(PE)
1 DETAIL STUDY OF DRAMATIC STRUCTURE OF-: 15 33 1,2,3,4 CO1 PSO8
PSO10 SD L,R,N,G PE
Shakespearean plays- CO4
Tregedy/ Comedy / Histroy
2 DETAIL STUDY OF DRAMATIC STRUCTURE OF-: 15 33 1,2,3,4 CO2 PSO8
Epic Theatre CO4 PSO10
Theatre of Absurd
3 AMERICAN DRAMA: 15 34 1,2,3,4 CO3 PSO8

A-History of American drama in general. CO4 PSO10
B-Study of major play wrights

Arthur miller/
Edward Elbe /
O’Neil /
Tennessee Williams
REFERENCES
1. The theatre of absurd By Esslin martin
2. Brecht on theatre by willet john
3. History of Theatre by Brockett O G
4. Three thousand years of drama by Sheldon cheney
5. Theatre Of USA by Bernard Hewitt
Year I DRM 2102: Comparative Studies in Credits / Hours per week 03
Acting - I
CO1 Ability to grasp & detail understanding Actor Character in classical Sanskrit drama & Western Drama
CO2 Ability to grasp & Detail understanding of abhinaya.
CO3 Ability to grasp & Detail understanding of the forms of Asian Theatre

bility (L)/ (G),
Skill al (G) (ES),
ment mental Values
(SD) needs (HV)and
Professio
nal
Ethics
(PE)
1 COMPARATIVE STUDY OF BHARATA & 12 25 1,2,3,4 CO1 PSO1
PSO3 ENT, SD L,R,N,G PE
STANISLAVSKY:
PSO7
Actor – Character Relationship PSO8
Actor – Audience Relationship
2 COMPARATIVE STUDY OF BHARATA & MEYERHOLD: 11 25 1,2,3,4 CO2 PSO1
Actor – Character Relationship PSO3
PSO7
Actor – Audience Relationship PSO8
3 STUDY OF FORMS OF ASIAN THEATRE – I: 11 25 1,2,3,4 CO3 PSO1

Comparative study of Indian & Oriental dance drama form PSO3
PSO7
(Japanese) from the point of view of Acting in KABUKI & PSO8
KATHAKALI
4 STUDY OF FORMS OF ASIAN THEATRE - II: 11 25 1,2,3,4 CO3 PSO1

Comparative study of classical Indian theatre & Chinese theatre PSO3
PSO7
from the point of view of Acting in PEKING OPERA &
SANSKRIT THEATRE PSO8
REFERENCES
1. Bharata Natyashastra by Manomohan Ghosh
2. Bharata Natyamanjari by G.K.Bhat
3. Studies in Natyashastra by G.H.Tarlekar
4. An Actor Prepares by C.S.Stanslavsky
5. Stanslavasky system by Sonia Moore
6. Meyerhold on Theatre
7. The Kabuki Theatre of Japan by A.C.Scott
8. Peking Opera by Revi Alley
Year I DRM 2103: Approaches to Advanced Credits / Hours per week 03
Production Techniques - I
CO1 Ability to understand the ideas and views of legendry directors work.
CO2 Ability to understand the different methods adopted by the legendry directors work.
CO3 Will be able to grasp the detailed understating of the legendry directors work by understanding the different methods of the director.

bility (L)/ (G),
Skill al (G) (ES),
ment mental Values
(SD) needs (HV)and
Professio
nal
Ethics
(PE)
1 IDEAS AND VIEWS ON PRODUCTION BY Duke of Saxe 12 25 2,3,4,5 CO1 PSO1 ENT, SD N.R,G PE
Meiningen / Stanislavsky PSO4
PSO7
/ Brecht PSO10
2 Vision and Method of Duke of Saxe Meiningen / Stanislavsky/ 11 25 2,3,4,5 PSO2 PSO1
Brecht PSO4
PSO7
PSO10
3 COMPARATIVE STUDY OF THE PRODUCTIONS OF 11 25 2,3,4,5 PSO3 PSO1

Duke and Stanislavsky PSO4
PSO7
PSO10
4 COMPARATIVE STUDY OF THE PRODUCTIONS OF 11 25 2,3,4,5 PSO3 PSO1

Stanislavsky / Brecht PSO4
PSO7
PSO10
REFERENCES
1. Experimental Theatre : James Roose Evans
2. Directing the Play : Toby cole and Helem Krich Chinoy
3. Dramatics Theory of Criticism : Bernard Dakore
4. Modern Theatre Practice : Hobert C Heffner
5. Theatre Magazine : NSD
Year I DRM2104 : Practical Paper I Credits / Hours per week 07

Mode of Transaction Classroom Practical and Performance
Course Outcome (CO) DRM
CO1 Advance Approach of Stage Craft in Scenic Design.
CO2 Advance Approach of Stage Craft in Poperty Design.
CO3 Advance Approach of Process of Direction.
CO4 Advance Approach of Rehearsal Process.
Unit Topic/Unit Contact Weightage BT CO PSO Element s Relevan Relation

No. Hours (%) Level of ce to to
bility (L)/ (G),
Skill al (G) (ES),
ment (SD) mental Values
needs (HV)and
Professio
nal
Ethics
(PE)
1 STAGECRAFT: 18 15 2,3,4,5,6 CO1 PSO6
EMp, ENT,SD L,R,N,G HV,PE
Scenic Design
Preparing workshop design of a set
Model Making
2 STAGECRAFT: 17 15 2,3,4,5,6 CO2 PSO6
Property Design
Special props making & props for historical Plays.
3 Direction: 25 30 2,3,4,5,6 CO3 PSO9

Contemporary approaches to direction PSO10
Written text and Performance text
Interpretation and extrapolation
4 Rehearsals of Play Production: 45 40 2,3,4,5,6 Co4

PSO4
Rehearsals of Play Production
PSO6
PSO7
PSO8
PSO10
REFERENCES
1. Stage Scenery-A.S.Gillette
2. Fundamental of Direction-Dean Alexander
3. General Principles of play direction- Gilmore Brown
4. The craft of Play Directing-Curtis Canfield
5. Play Production-Milton Smith
6. The Conductor's Companion: 100 Rehearsal Techniques, Imaginative ideas, Quotes and Facts by Gary Stith
Year I DRM 2105: Theatre Management Credits / Hours per week 02

CO1 Ability to understand the ideas of Theatre Management
CO2 Ability to understand the different types of theatre and its application.
CO3 Will be able to grasp the detailed understating about the Audieence Psychology
CO4 Ability to understand the ideasof manageing overall Produciton.

bility (L)/ (G),
Skill al (G) (ES),
ment mental Values
(SD) needs (HV)and
Professio
nal
Ethics
(PE)
1 Understanding Theatre Management & ShowOrganization 15 50 2,3,5 CO1 PSO7
PSO11 EMP, ENT , L.R.N.G HV, PE
The Mission of theTheatre CO2
SD
AudiencePsychology CO3
Non‐ProfitTheatres
Community/College Theatre
Professional & CommercialTheatre
2 Organizational Planning andStructure 15 50 2,3,5 CO1 PSO7
Fundraising, Publicity andMarketing CO4 PSO11
Budgeting
Computers andManagement
House and back stageManagement
Human ResourceManagement
REFERENCES
1. Theatre Management: Producing and Managing the Performing Arts by David M. Conte
2. Building the Successful Theater Company by Lisa Mulcahy
3. Theatre Management Arts Leadreship for the 21st Century by Anthony Rhine
4. Understanding the Psychology of Audiences: Beliefs, Attitudes, Values, and Needs By: Sherry Devereaux Ferguson
The Psychology of the Audience By H. L. Hollingworth, Henry E. Garrett
5.
M.P.A.(Dramatics): Regular Programme

Year I DRM2206: Theatre and Other Credits / Hours per week 03
Media-II
Semester II Maximum Marks / Grade 100
Course Outcome (CO) DRM2206
CO1 To comprehend the theatrical studies
CO2 To experience peculiarity of theatre and other media
CO3 To develop writing skills for other media
CO4 To experience evaluate & review theatre performance technique
Unit Topic/Unit Contact Weightage BT CO PSO Eleme Relevan Relation

No. Hours (%) Level nt s of ce to to
Emplo Local Gender
ya (L)/ (G),
bility National Environ
(Emp) (N)/ ment and
/ Regional Sustaina
Entrep (R)/Glob bility
re al (G) (ES),
neursh develop Human
ip mental Values
(Ent)/ needs (HV)and
Skill Professio
Devel nal
op Ethics
ment (PE)
(SD)
1 THEATRE STUDIES & PERFORMANCES ANALYSIS: 11 25 1,2,3,4 CO1 PSO8
CO4 PSO10 SD L,R,N,G PE
Introduction to Theatre and theatre studies in general.
Notation and documentation.
Tool of analysis
Goal of analysis
Method and models.
2 THEATRE AND OTHER MEDIA : 11 25 1,2,3,4 CO2 PSO8
Characteristics of Radio and Television. CO3 PSO10
Difference between stage play and tele play.
3 THEATRE AND OTHER MEDIA : 12 25 1,2,3,4 CO3 PSO8

Writing a script for different medium. CO2 PSO10
Adaption of a short story for Radio and Television.
4 THEATRE CRITICISM : 11 25 1,2,3,4 CO4 PSO8

Historical perspective of theatre criticism. CO1
PSO10
Form of criticism.
Evaluating and reviewing theatre performance.
REFERENCES
1. Theatre Studies by Christopher B. Balme.
2. Katha PatkathaLekhan by
3. Natyasamiksha by DashrathOjha
4. The Craft Of Critic by Smith Stephenson Thomas Y Crowell. NY.
5. Appreciating the Theatre by Kaufman Julian

Year I DRM2202: Comparative Studies in Credits / Hours per week 03
Acting - II
CO1 Ability to grasp & detail understanding Actor Character in classical Sanskrit drama & Western Drama
CO2 Ability to grasp & Detail understanding of abhinaya.
CO3 Ability to grasp & Detail understanding of the Dance and Drama.

Emplo Local Gender
ya (L)/ (G),
(Emp) (N)/ ment and
/ Regional Sustaina
re al (G) (ES),
ip mental Values
Skill Professio
Devel nal
op Ethics
ment (PE)
(SD)
1 COMPARATIVE STUDY OF BHARATA & BRECHT: 12 25 2,4,5 CO1 PSO1
PSO3 EMP,SD L,R,N,G PE
Actor – Character Relationship
PSO7
2 COMPARATIVE STUDY OF BHARATA & GROTOWSKI : 11 25 2,4,5 CO1 PSO1
Actor – Character Relationship CO2 PSO3
PSO7
3 NATYA AND NRITTA : 11 25 2,4,5 CO3 PSO1

Their Meaning and relation PSO3
PSO7
Medieval Concept PSO8
Comparative Study of Natya and Nritta.
4 NRITYA AND NRITTA : 11 25 2,4,5 CO3 PSO1

PSO7
Medieval Concept
Comparative Study of Nritya and Nritta PSO8
REFERENCES
1. Bharata Natyashastra by Manomohan Ghosh
2. Bharata Natyamanjari by G.K.Bhat
3. Studies in Natyashastra by G.H.Tarlekar
4. Brecht on Theatre by Willet John
5. Expertimental Theatre by James Roose Evans
6. Towards a Poor Theatre by Jerzy Grotowski
7. Natya, Nritta and Nritya by K M Varma

Year I DRM2203: Approaches to Advanced Credits / Hours per week 03
Production Techniques - II
CO1 Ability to practice & understand the different techniques of Classical and Modern Production style
CO2 Able to interpret the classical elements in contemporary presentation.
CO3 Ability to understand the modern trends and tradition through visual impact on play production.
CO4 Ability to understand the director work from root to modern.

Emplo Local Gender
ya (L)/ (G),
(Emp) (N)/ ment and
/ Regional Sustaina
re al (G) (ES),
ip mental Values
Skill Professio
Devel nal
op Ethics
ment (PE)
(SD)
1 Approach to production technique of Classical / Modern 11 25 2,3,4,5 CO1 PSO1 ENT, SD N.R,G PE
Indian play PSO4
PSO7
PSO10
2 Interpretation of classical play in modern context through 12 25 2,3,4,5 CO2 PSO1
visual and action PSO4
PSO7
PSO10
3 Trends & traditions of modern Indian theatre. 11 25 2,3,4,5 CO3 PSO1

PSO4
PSO7
PSO10
4 Ideas and vision of Indian Theatre director. 11 25 2,3,4,5 CO4 PSO1

Habib Tanveer / B.V. Karanth / K.N. Panikar- / Vijaya Mehta PSO4
PSO7
PSO10
REFERENCES

Year I DRM2205: Theatre Aesthetics Credits / Hours per week 02

CO1 To demonstrate the centrality of aesthetic experience in human life and get acquainted with the most fundamental aesthetic concepts and ideas,
CO2 Tto learn how to understand major theoretical articulations of aesthetic experience.
CO3 To relate and apply theoretical elaborations of aesthetic experience to the theatrical Perormance.
CO4 Ability to understand the theory of different scholers of Aesthetics principals.

Emplo Local Gender
ya (L)/ (G),
(Emp) (N)/ ment and
/ Regional Sustaina
re al (G) (ES),
ip mental Values
Skill Professio
Devel nal
op Ethics
ment (PE)
(SD)
1 THEATRE AND EMOTIONS: 15 50 1,2,3,4,5 CO1 PSO2
CO2 PSO5 ENT,SD L,R,N,G HV, PE
Art as expression of emotions
CO3 PSO11
Bharat, BhattanayakaAbhinavagupta
Aristotle, Longinus, Kant and Romantic Theatre in the West as
well as India
2 THEATRE AND REALITY / REALISM / HUMANISM: 15 50 1,2,3,4,5 CO2 PSO2
ShriShankuka, Abhinava and Anandawardhana(Dhwani) CO3 PSO5
CO4 PSO11
Plato, Harace, RenaissanceAesthetics
19th – 20thCentaury Realistic Theatre – Realistic Theatre – Stani.
etc.
REFERENCES
1. Applied Theatre: Aesthetics By: Gareth White
2. "Playing Attention": Contemporary Aesthetics and Performing Arts Audience Education by Monica Prendergast (Journal)
3. Indian Aesthetics: An Introduction by V.S. Seturaman

Year I DRM2204 : Practical Paper I Credits / Hours per week 06

Mode of Transaction
CO1 PREPARE RADIO PLAY,MONOLOGUES & SOLILOQUIES FROM OTHER FORMS OF LITERATURE WITH THE ARTUCALATION OF VOICE AND SPEECH
CO2 LEARN TO UNDERSTAND DIFFERENT SENTIMENTS AND EMOTIONS THROUGH RHYTHMIC BODY MOVEMENT.
CO3 THROUGH IMPROVISATIONPREPARE COMPLETE LIFE SKETCH OF A CHARACTER WITH CONTEMPORARY SUBJECT.
CO4 PREPARE PLAY PRODUCTION WITH COMPLETE PROCESS OF REHERSALS.

bility (L)/ (G),
Skill al (G) (ES),
ment mental Values
(SD) needs (HV)and
Professio
nal
Ethics
(PE)
1 VOICE & SPEECH: 15 20 2,3,4,5,6 CO1 PSO2
PSO7 EMP,ENT,SD L,R,N,G HV, PE
Preparing [transforming] a short story as monologue/soliloquy
PSO8
Preparing monologues & soliloquies from other forms of PSO11
Literature Preparing Scenes for a Radio play from Gujarati
&Hindi Plays Preparing Scenes for a Radio play from Sanskrit &
Other languages
2 BODY MOVEMENT: 15 20 2,3,4,5,6 CO2 PSO2
Emotion exercise through Music PSO7
PSO8
Understanding different sentiments and emotions through PSO11
rhythmic movement and gesture
3 IMPROVISATION: 15 20 2,3,4,5,6 CO3 PSO2

Developing a script through improvisation by taking PSO7
PSO8
contemporary subjects. PSO11
To prepare complete life sketch of a character by work on role
analysis through improvisation.
4 Rehearsals of Play Production: 45 40 2,3,4,5,6 CO4
PSO4
Rehearsals of Play Production PSO8
PSO10
REFERENCES
1. Voice and Speech in the Theatre (Theatre Arts) by J. Clifford Turner
2. Mime the Gap: Techniques in Mime and Movement by Richard Knight
3. Impro: Improvisation and the Theatre by Keith Johnstone
4. The Creative Director: Alternative Rehearsal Techniques by Edward S. Lisk
5. Improvisation Techniques for the Professional Actor in Film, Theater & Television by Stephen Book

Year II DRM2301: Indian Traditional Credits / Hours per week 03
Theatre- III
Semester III Maximum Marks / Grade 100
Year of Syllabus Revision: 2020-21
CO1 To experience & evaluation the terms of Traditional theatre
CO2 To interpret an inventive use of traditional theatrical elements

bility (L)/ (G),
Skill al (G) (ES),
ment mental Values
(SD) needs (HV)and
Professio
nal
Ethics
(PE)
1 TRADITIONAL THEATRE: 15 33 1,2,3,4 CO1 PSO5
PSO8 SD L,R,N,G PE
Detailed study of the forms of the Indian Traditional theatre PSO10
with special reference to Northern regions.
Ramleela, RasLeela
2 TRADITIONAL THEATRE : 15 33 1,2,3,4 CO1 PSO5
PSO8
Creative use of traditional elements in modern Indian drama PSO10
with special reference to Southern region.
Kuttyattam ,Yakshagana, Terkutta.
Review of a play Aaschrychudamani by Shakti Bhadra
3 TRADITIONAL FORM : 15 34 1,2,3,4 CO1 PSO5

CO2 PSO8
Jatra, Bhavai, Nautanki, Bhagvatmela, Buru Katha, PSO10
TamashaEtc,
Creative use of traditional form in contemporary drama –any
one play.
REFERENCES
1. Bhartiya Rangmanch ka Vikas by Ojha Dashrath
2. BhartiyaRangmanch –ParmparaevamItihasbyDr.Agyat
3. Indian Traditional Theatre by KapilaVatsayana.
4. Lokrang by Dr.Bhanavat.
5. Ram leela by IndujaAwashthi

Year II DRM2302: Mass Media & Dance Credits / Hours per week 03
Drama Forms
CO1 Ability to grasp & understand basicacting technique in Mass Media
CO2 Ability to grasp & Detail understanding of the Dance and Drama.
CO3 Ability to grasp & Detail understanding of the Dance Drama Form.

bility (L)/ (G),
Skill al (G) (ES),
ment mental Values
(SD) needs (HV)and
Professio
nal
Ethics
(PE)
1 ACTING IN FORMS OF MASS - MEDIA – I: 11 25 1,2,3,4 CO1 PSO1
PSO3 SD
Stage Plays & Street Plays PSO7 L,R,N,G PE
Radio Plays PSO8
2 ACTING IN FORMS OF MASS - MEDIA – II : 11 25 1,2,3,4 CO1 PSO1
PSO3
Films : Proxemics, Technique, Acting in Cinema PSO7
Television : Tele – films & serials PSO8
3 NATYA AND NRITYA : 11 25 1,2,3,4 CO2

PSO1
Medieval Concept PSO7
Comparative Study of Natya and Nritya PSO8
4 DANCE DRAMA FORMS OF INDIA : 12 25 1,2,3,4,5 CO3 PSO1

PSO3
Salient features of acting in dance drama PSO7
Kutiyattam and Yakshagan
PSO8
REFERENCES
1. Natya, Nritta and Nritya by K M Varma
2. Indian Traditional Theatre – Multiple Streams by Kapila Vatsyayan
3. Bharata Natyashastra by Manomohan Gosh
4. Bharata Natyamanjari by G K Bhat
5. Film Production Technique by Bruce Mamer
6. Short Films and Video by David K Irving and Peter W Rea

Year II DRM2303: Directors Approaches on Credits / Hours per week 03
Directing
CO1 Ability to understand the ideas and views of legendry directors work.
CO2 Ability to understand the different methods adopted by the legendry directors work.
CO3 Will be able to grasp the detailed understating of the legendry directors work by understanding the different methods of the director.

bility (L)/ (G),
Skill al (G) (ES),
ment mental Values
(SD) needs (HV)and
Professio
nal
Ethics
(PE)
1 IDEAS AND VIEWS ON PRODUCTION BY 12 25 2,3,4,5 CO1 PSO1 ENT, SD N.R,G PE
PSO4
PSO7
Meyerhold / Grotowskv/ Peter Brook: PSO10
2 VISION AND METHOD OF 12 25 2,3,4,5 CO2 PSO1
PSO4
PSO7
Meyerhold / Grotowsky/ Peter Brook PSO10
3 COMPARATIVE STUDY OF THE PRODUCTIONS 11 25 2,3,4,5 CO3 PSO1

PSO4
OF PSO7
Meyerhold / Grotowsky PSO10
4 COMPARATIVE STUDY OF THE PRODUCTIONS 10 25 2,3,4,5 CO3 PSO1

PSO4
OF PSO7
Grotowsky/ Peter Brook PSO10
REFERENCES

Year II DRM2304: Practical Paper III Credits / Hours per week 06
Mode of Transaction
CO1 UNDERSTAND AND WORK ON THE PROCESS OF DUBBING /VOICEOVER FOR AUDIO VISUAL MEDIA.
CO2 PREPARE THE ENACTMENT BASED ON BODY MOVEMENTS THROUGH MUSIC OR WITHOUT MUSIC.
CO3 PREPARE THEME BASE IMPROVISATION FOR CREATIVE THEATRE FORMS.
CO4 PREPARE PLAY PRODUCTION WITH COMPLETE PROCESS OF REHERSALS.

bility (L)/ (G),
Skill al (G) (ES),
ment mental Values
(SD) needs (HV)and
Professio
nal
Ethics
(PE)
1 Voice & speech: 11 15 2,3,4,5,6 CO1 PSO2
PSO7 EMP,ENT,SD L,R,N,G HV, PE
Voice exercises & Cultivation for Dubbing /Voiceover for PSO8
different forms of Mass Media PSO11
2 Voice & speech: 11 15 2,3,4,5,6 CO2 PSO2
PSO7
Dubbing I Voice over for different forms of Audio Visual PSO8
Media. PSO11
Dubbing for various animate / inanimate characters
3 Body Movement: 11 15 2,3,4,5,6 CO3 PSO2

PSO7
To develop a concrete language of Body science suitable for PSO8
the enactment of a play in production. PSO11
Preparation of a scene / short play based on body movements
throughMusic or without music.
4 Improvisation: 12 15 2,3,4,5,6 CO3 PSO2
PSO7
Improvisation of themes in folk and creative theatre forms PSO8
viz. Bhavai ,Street Theatre etc.
PSO11
5. Rehearsals of Play Production: 45 40 2,3,4,5,6 CO4

PSO4
Rehearsals of Play Production PSO8
PSO10
REFERENCES
1. Voice and Speech in the Theatre (Theatre Arts) by J. Clifford Turner
2. Mime the Gap: Techniques in Mime and Movement by Richard Knight
3. Impro: Improvisation and the Theatre by Keith Johnstone
4. The Creative Director: Alternative Rehearsal Techniques by Edward S. Lisk
5. Improvisation Techniques for the Professional Actor in Film, Theater & Television by Stephen Book

Year II DRM2305: Tele Production Credits / Hours per week 02
CO1 Apply the principles of interpersonal communication in collaborative production work
CO2 To understand the different text in different Media
CO2 Apply media writing and production techniques to create original projects
CO3 Describe and analyze elements in the production process;
CO4 Apply the fundamental concepts of production in tele play, television to complete a media project;

bility (L)/ (G),
Skill al (G) (ES),
ment mental Values
(SD) needs (HV)and
Professio
nal
Ethics
(PE)
1 Introduction of visualization, Different approaches to 10 33 2,3,5 CO1 PSO7
CO2 PSO11 EMP, ENT , L.R.N.G HV, PE
visualization – TV, Films CO3 SD
Principles of Script writing, creative writing, Tele Play
2 Key professionals involved in television production/Stage 10 33 2,3,5 CO3 PSO7
CO4 PSO11
production
Various Stages of Video Production/Stage Production
3 Comparison of Lighting/Setting in Tele production/ Stage 10 34 2,3,5 CO3 PSO7

CO4 PSO11
Study of any play converted into Tele play
REFERENCES
1. Television Production, 15th Edition by Jim Owens, Gerald Millerson
2. Production Management for TV and Film: The Professional's Guide (Professional Media Practice) by Linda Stradling
3. Patkatha Lekhan by Avninder Jha

2020-21
Academic Year
Faculty of Performing Arts
Year II DRM 2401: CLASSICAL AND Credits / Hours per week 03
MODERN INDIAN DRAMA- IV
Semester IV Maximum Marks / Grade 100
CO1 To explore, methodology & pedagogical aspect of classical & modern Indian plays
CO2 To perceive an application of culture through drama

bility (L)/ (G),
Skill al (G) (ES),
ment mental Values
(SD) needs (HV)and
Professio
nal
Ethics
(PE)
1 CLASSICAL INDIAN DRAMA LITRATURE: 15 33 1,2,3,4 CO1 PSO5
CO2 PSO8 SD L,R,N,G PE
Detail study of major Sanskrit play writes. PSO10
Bhasa/ Kalidasa/ Shudrka/ Bhavbhuti.
2 MODERN INDIAN DRAMA : 15 33 1,2,3,4 CO1 PSO5
CO2 PSO8
Detail study of Major modern Indian play write. PSO10
GirishKarnard/ Madhu Ray/ Mohan Rakesh/ Surendravarma/
Vijay Tendulkar.
3 REVIEW OF PLAY/S.: 15 34 1,2,3,4 CO1 PSO5

CO2 PSO8
Detail study of a Sanskrit Play writes play/s. PSO10
Detail study of a modern play writes play/s
REFERENCES
1. Natyshastra ki Bhartiya parmpara by Dwivedi Hazari prasad
2. BhartiyaRangmanchkaVikas by OjhaDashrath
3. BhartiyaRangmanch –ParmparaevamItihasbyDr.Agyat
4. Sanskrit Natykar-
5. The Sanskrit Drama- A B Kieth
Year II DRM 2402: Indian and Western Folk Credits / Hours per week 03
Theatre
CO1 Ability to grasp & understand technique of Commedia Dell’arte
CO2 Ability to grasp & understand and compare the Indiand Flk theatre and Commedia Dell’arte
CO3 Ability to grasp & Detail understanding of the Total Theatre.

bility (L)/ (G),
Skill al (G) (ES),
ment mental Values
(SD) needs (HV)and
Professio
nal
Ethics
(PE)
1 COMMEDIA DELL’ARTE: 14 30 1,2,3,4, CO1 PSO6
PSO8 SD L,R,N,G PE
Detailed Study of Commedia Dell’arte as Actor’s theatre PSO11
Study of stock characters
2 COMMEDIA DELL’ARTE AND BHAVAI : 14 30 1,2,3,4 CO2 PSO6
PSO8
Comparative study of Acting in Commedia Dell’arte and PSO11
Bhavai
Actors’ improvisational skills
3 Concept of Total Theatre : 17 40 1,2,3,4 CO3 PSO6

PSO8
Study of Salient features of Acting in Traditional theatre and PSO11
Folk Theatre
Nautanki & Jatra
REFERENCES
1. Indian Traditional Theatre – Multiple Streams by Kapila Vatsyayan
2. World Drama by Allardyce Nicoll
3. The Theory of Drama by Allardyce Nicoll
4. Natyshastra by Adya Rangacharya
2020-21
Faculty of Performing Arts Academic Year
Year II DRM 2403: Directors Contemporary Credits / Hours per week 03
Approaches on Directing
CO1 Ability to learn the convention of Indian and western theatre.
CO2 Able to understand the regional theatre at larger perspective.
CO3 Ability to understand the western contemporary approach towards modern theatre.
CO4 Ability to understand the Indian contemporary approach towards modern theatre.

bility (L)/ (G),
Skill al (G) (ES),
ment mental Values
(SD) needs (HV)and
Professio
nal
Ethics
(PE)
1 The aesthetic principles & conventions of play 12 25 1,2,3,4,5 CO1 PSO1 ENT, SD N.R,G PE
PSO4
production of Indian, and Western Theatre. PSO7
PSO10
2 The concept of Total theatre and salient features of the 11 25 1,2,3,4,5 CO2 PSO1
PSO4
Indian regional theatre from the point of view of ‘Total PSO7
theatre'. PSO10
3 Western contemporary theatre and its diversity after 12 25 1,2,3,4,5 CO3 PSO1
PSO4
1960.and study the different alternative theatre groups PSO7
and their approach towards the presentation. PSO10
4 Indian contemporary theatre and its different innovative 11 25 2,3,4,5 CO4 PSO1
PSO4
practices after 1960 and study the role of different PSO7
theatre institutions. PSO10
REFERENCES
Year II DRM 2405: Dissertation Credits / Hours per week 02
CO1 Identify key research questions within the field of Thetare on which students will carry out independent research.
CO2 Use and develop written and oral presentation skills.
CO3 Identify, summarise and critically evaluate relevant literature and write a literature review of the relevant field.
CO4 Analyse and synthesise research findings.
CO5 Will be able to select from different methodologies, methods and forms of analysis to produce a suitable research design, and Justify their design.

bility (L)/ (G),
Skill al (G) (ES),
ment mental Values
(SD) needs (HV)and
Professio
nal
Ethics
(PE)
1 Literature: 10 33 2,3,4,5,6 CO1 PSO2
CO2 PSO5 SD PE
The topic will be selected from the Theory Paper I which is CO3 PSO10 L,R,N,G
studied in Semester – I, II, III and IV at Post Graduate Level. CO4 PSO11
CO5
2 Acting : 10 33 2,3,4,5,6 CO1 PSO2
CO2 PSO5
The topic will be selected from the Theory Paper II which is CO3 PSO10
CO5
3 Production : 10 34 2,3,4,5,6 CO1 PSO2

CO2 PSO5
The topic will be selected from the Theory Paper III which is CO3 PSO10
CO5
REFERENCES
1.
2.
3.
4.

Year II DRM2404: PracticalPaper-IV Credits / Hours per week 07

Mode of Transaction
CO1 Advance Approach of Stage Craft in Music Design and Sound Effect.
CO2 Advance Approach of Music Design and Sound Effect in Electronic Media.
CO3 Basic Understanding of Alphabets of Theatre in Classical / Non Realistic Theatre.
CO4 Critical Approach of Rehearsals Techniques.

Emplo Local Gender
ya (L)/ (G),
(Emp) (N)/ ment and
/ Regional Sustaina
re al (G) (ES),
ip mental Values
Skill Professio
Devel nal
op Ethics
ment (PE)
(SD)
1 STAGE CRAFT: 17 15 2,3,4,5,6 CO1 PSO6
EMp, L,R,N,G HV,PE
Music: Sound Recording , Background Score ENT,SD
Music & Sound Effects for Stage
Music , Sound Recording and Background Score for Tele vision
2 STAGE CRAFT : 18 15 2,3,4,5,6 CO2 PSO6
Music: Sound Recording , Background Score
Music & Sound Effects for Stage
Music , Sound Recording and Background Score for Tele vision
3 Direction: 25 30 2,3,4,5,6 CO3 PSO9

Multiple focus and multiple language of elements of theatre PSO10
Multi-media
4 Rehearsals of Play Production : 45 40 2,3,4,5,6 CO4

PSO4
Rehearsals of Play Production
PSO6
PSO7
PSO8
PSO1
0
REFERENCES
1. Stage Scenery-A.S.Gillette
2. Fundamental of Direction-Dean Alexander
3. General Principles of play direction- Gilmore Brown
4. The craft of Play Directing-Curtis Canfield
5. Play Production-Milton Smith

Drametics MPA

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Bloom’sTaxonomyLevels: 1.Remember 2.Understand 3. Application 4. Analysis 5.Evaluation 6.

Programme Name: M.P.A (Dramatics)

Programme Specific Outcome (PSO)

PSO1 Understand the cultural and historical nature of artistic creation

Year of Introduction: 2020-21

Mode of Transaction Lectures and Tutorials

Unit Topic/Unit Contact Weightage BT CO PSO Element Relevan Relation

3 AMERICAN DRAMA: 15 34 1,2,3,4 CO3 PSO8

B-Study of major play wrights

Unit Topic/Unit Contact Weightage BT CO PSO Element Relevan Relation

3 STUDY OF FORMS OF ASIAN THEATRE – I: 11 25 1,2,3,4 CO3 PSO1

4 STUDY OF FORMS OF ASIAN THEATRE - II: 11 25 1,2,3,4 CO3 PSO1

Unit Topic/Unit Contact Weightage BT CO PSO Element Relevan Relation

3 COMPARATIVE STUDY OF THE PRODUCTIONS OF 11 25 2,3,4,5 PSO3 PSO1

4 COMPARATIVE STUDY OF THE PRODUCTIONS OF 11 25 2,3,4,5 PSO3 PSO1

Year of Introduction: 2011-12

Unit Topic/Unit Contact Weightage BT CO PSO Element s Relevan Relation

3 Direction: 25 30 2,3,4,5,6 CO3 PSO9

4 Rehearsals of Play Production: 45 40 2,3,4,5,6 Co4

Year of Introduction: 2011-12

Unit Topic/Unit Contact Weightage BT CO PSO Element Relevan Relation

M.P.A.(Dramatics): Regular Programme

Unit Topic/Unit Contact Weightage BT CO PSO Eleme Relevan Relation

3 THEATRE AND OTHER MEDIA : 12 25 1,2,3,4 CO3 PSO8

4 THEATRE CRITICISM : 11 25 1,2,3,4 CO4 PSO8

M.P.A.(Dramatics): Regular Programme

Unit Topic/Unit Contact Weightage BT CO PSO Eleme Relevan Relation

3 NATYA AND NRITTA : 11 25 2,4,5 CO3 PSO1

4 NRITYA AND NRITTA : 11 25 2,4,5 CO3 PSO1

M.P.A.(Dramatics): Regular Programme

Unit Topic/Unit Contact Weightage BT CO PSO Eleme Relevan Relation

3 Trends & traditions of modern Indian theatre. 11 25 2,3,4,5 CO3 PSO1

4 Ideas and vision of Indian Theatre director. 11 25 2,3,4,5 CO4 PSO1

M.P.A.(Dramatics): Regular Programme

Year of Introduction: 2011-12

Unit Topic/Unit Contact Weightage BT CO PSO Eleme Relevan Relation

3. Indian Aesthetics: An Introduction by V.S. Seturaman

Year of Introduction: 2011-12

Unit Topic/Unit Contact Weightage BT CO PSO Element Relevan Relation

3 IMPROVISATION: 15 20 2,3,4,5,6 CO3 PSO2

M.P.A.(Dramatics): Regular Programme

Unit Topic/Unit Contact Weightage BT CO PSO Element Relevan Relation

3 TRADITIONAL FORM : 15 34 1,2,3,4 CO1 PSO5

M.P.A.(Dramatics): Regular Programme

Unit Topic/Unit Contact Weightage BT CO PSO Element Relevan Relation

3 NATYA AND NRITYA : 11 25 1,2,3,4 CO2

4 DANCE DRAMA FORMS OF INDIA : 12 25 1,2,3,4,5 CO3 PSO1

M.P.A.(Dramatics): Regular Programme

Unit Topic/Unit Contact Weightage BT CO PSO Element Relevan Relation

3 COMPARATIVE STUDY OF THE PRODUCTIONS 11 25 2,3,4,5 CO3 PSO1

4 COMPARATIVE STUDY OF THE PRODUCTIONS 10 25 2,3,4,5 CO3 PSO1

M.P.A.(Dramatics): Regular Programme

Unit Topic/Unit Contact Weightage BT CO PSO Element Relevan Relation

3 Body Movement: 11 15 2,3,4,5,6 CO3 PSO2

5. Rehearsals of Play Production: 45 40 2,3,4,5,6 CO4

M.P.A.(Dramatics): Regular Programme

Unit Topic/Unit Contact Weightage BT CO PSO Element Relevan Relation

3 Comparison of Lighting/Setting in Tele production/ Stage 10 34 2,3,5 CO3 PSO7

3. Patkatha Lekhan by Avninder Jha

Unit Topic/Unit Contact Weightage BT CO PSO Element Relevan Relation

3 REVIEW OF PLAY/S.: 15 34 1,2,3,4 CO1 PSO5

Unit Topic/Unit Contact Weightage BT CO PSO Element Relevan Relation