PERFORMING ARTS-DANCE/DRAMA/THEATRE
PERFORMING ARTS- DANCE/DRAMA/THEATRE SYLLABUS
(These syllabus may change from time to time. Please check with the relevant Public Service Commission websites for any changes in the syllabus)
Paper II & Paper III (Part A) Syllabus[Core Group]
Unit – I: General Cultural Aspects
Cultural History of India, Knowledge of major epics like Ramayana, Mahabharata, Shilappadikaram in terms of their content, characters and relevance to Indian Theatrical Practice, an acquaintance with Indian mythology.
Unit – II: The Natyashastric Tradition
Thorough knowledge of Bharata’s Natyashastra, and its relevance to an influence on Indian Classical Theatre. Origin, aim and nature of Sanskrit natya according to Bharata and later commentators.
The concepts of natya, nritta and nritya – their characteristics in the earliest and medieval theories. The types of theatres and their construction according to Natyashastra.
Unit – III: Ancient Practice of Natya
The four ‘abhinayas’; four ‘Vrittis’, four ‘pravrittis’ and two ‘dharmis’ : A study of the ‘nritta karaaas’ of the Natyashastra and their importance. Detailed study of nayaka – nayikabheda and all the classification thereof.
Unit – IV: Indian Aesthetics
‘Rasasutra’ of Bharata and its exposition and elaboration by various commentators, viz :, Bhatta Lollata, Sri Shankuka, Bhatta Nayaka and Abhinavgupta. Rasa and its constituent elements, viz., Sthayi, Vyabhichari and Sattvika Bhava, their Vibhava and Anubhava. ‘Dhvani Siddhanta’ of Anandavardhanacharya.
Unit – V: Post – Natyashastra Important Texts Relevant for Study of Dance and Drama
Dasha Rupaka of Dhananjay, Abhinaydarpana of Nandikeshvara, Bhavprakashana of Shardatanaya and Natyadarpana of Ramachandra – Gunachandra.
Unit – VI: Tradition of Indian Music
General Knowledge of Indian Classical Music – Hindustani and Carnatic and their ‘tala’ patterns.
Unit – VII: Forms of Indian Dance and Drama in General
General introduction to seven classical dance styles, viz., Bharata Natyam, Kuchipudi, Odissi, Kathak, Manipuri, Kathakali and Mohini Attam. Knowledge of Indian dance – drama tradition, both classical and folk.
General Introduction to tribal and folk dances of India. Inter – relationship of dance and drama with other plastic arts, e.g., Sculpture, Iconography and Painting in their ancient Indian tradition.
Unit – VIII: South – East Asian Dance / Drama
General acquaintance with the theatre traditions of South – East Asia, viz., Sri Lanka, Burma, Thailand, Cambodia, Indonesia, Japan and China.
Unit – IX: Social Relevance of Dance and Drama in Contemporary Indian Scene.
Unit – X: Pedagogy in Dance and Drama
Traditional Dance / Drama Training and its relevance today. Dance education at the academic level and its need in the contemporary Indian Society.
Dance / Drama Research and other components of co – related arts which are relevant; the importance of modern stage technique, the media and technological advances to the study and propagation of dance / drama.
Paper III (Part B) Syllabus [Elective / Optional]
Dance History: History and technique of Indian dance from the ancient times till the modern times to be gathered from different sources like Literature, Epigraphy, Sculpture, Iconography, Painting and religious thought. This entails a thorough study of the Natyashastra and relevant texts.
The Contemporary scene and social ambience of dance in India and World: History and development of western ballet. Contemporary modern dance in India. Well – known Indian innovators and choreographers.
Designing of a Stage Production: The actual creation of a stage production, i.e., the production process in terms of:
Selection of the Subject
Writing the Synopsis
Selection and / or Writing of the Lyrics
Musical Arrangement
Direction and Choreography
Designing of Sets
Designing of Lighting
Designing of Costumes
The Ultimate Presentation
Critical Evaluation
A study of – seven established classical dance styles in terms of origin, history and development thereto.
Other well – established dance traditions like Chhau, Satriya, etc.
The influence of martial arts on the regional dance forms.
Drama and Dramatic Theories
Form of drama, Elements of Drama, Types of Drama, Various Styles of Drama in the context of various ISMS.
Important world dramatists and drama – From Greek to modern.
Contemporary Indian Theatre
Evolution of contemporary theatre in the context of development in Indian Theatre.
New trends in contemporary theatre since Independence movement.
Major movements and major theatre innovators and play wrights.
Acting / Direction
Different schools of acting – Greek to Grotowski, Important contemporary actors – internationally known.
Different directoral innovations and methods. Theories of modern stage.
Theatre Design and Techniques
Theatre Architecture – Greek to modern period.
Stage Craft – Set, Lights, Costumes, Make up, Sound, Props.
Theatre Techniques – From selection of script to final performance.
Paper II & Paper III (Part A) Syllabus[Core Group]
Unit – I: General Cultural Aspects
Cultural History of India, Knowledge of major epics like Ramayana, Mahabharata, Shilappadikaram in terms of their content, characters and relevance to Indian Theatrical Practice, an acquaintance with Indian mythology.
Unit – II: The Natyashastric Tradition
Thorough knowledge of Bharata’s Natyashastra, and its relevance to an influence on Indian Classical Theatre. Origin, aim and nature of Sanskrit natya according to Bharata and later commentators.
The concepts of natya, nritta and nritya – their characteristics in the earliest and medieval theories. The types of theatres and their construction according to Natyashastra.
Unit – III: Ancient Practice of Natya
The four ‘abhinayas’; four ‘Vrittis’, four ‘pravrittis’ and two ‘dharmis’ : A study of the ‘nritta karaaas’ of the Natyashastra and their importance. Detailed study of nayaka – nayikabheda and all the classification thereof.
Unit – IV: Indian Aesthetics
‘Rasasutra’ of Bharata and its exposition and elaboration by various commentators, viz :, Bhatta Lollata, Sri Shankuka, Bhatta Nayaka and Abhinavgupta. Rasa and its constituent elements, viz., Sthayi, Vyabhichari and Sattvika Bhava, their Vibhava and Anubhava. ‘Dhvani Siddhanta’ of Anandavardhanacharya.
Unit – V: Post – Natyashastra Important Texts Relevant for Study of Dance and Drama
Dasha Rupaka of Dhananjay, Abhinaydarpana of Nandikeshvara, Bhavprakashana of Shardatanaya and Natyadarpana of Ramachandra – Gunachandra.
Unit – VI: Tradition of Indian Music
General Knowledge of Indian Classical Music – Hindustani and Carnatic and their ‘tala’ patterns.
Unit – VII: Forms of Indian Dance and Drama in General
General introduction to seven classical dance styles, viz., Bharata Natyam, Kuchipudi, Odissi, Kathak, Manipuri, Kathakali and Mohini Attam. Knowledge of Indian dance – drama tradition, both classical and folk.
General Introduction to tribal and folk dances of India. Inter – relationship of dance and drama with other plastic arts, e.g., Sculpture, Iconography and Painting in their ancient Indian tradition.
Unit – VIII: South – East Asian Dance / Drama
General acquaintance with the theatre traditions of South – East Asia, viz., Sri Lanka, Burma, Thailand, Cambodia, Indonesia, Japan and China.
Unit – IX: Social Relevance of Dance and Drama in Contemporary Indian Scene.
Unit – X: Pedagogy in Dance and Drama
Traditional Dance / Drama Training and its relevance today. Dance education at the academic level and its need in the contemporary Indian Society.
Dance / Drama Research and other components of co – related arts which are relevant; the importance of modern stage technique, the media and technological advances to the study and propagation of dance / drama.
Paper III (Part B) Syllabus [Elective / Optional]
Dance History: History and technique of Indian dance from the ancient times till the modern times to be gathered from different sources like Literature, Epigraphy, Sculpture, Iconography, Painting and religious thought. This entails a thorough study of the Natyashastra and relevant texts.
The Contemporary scene and social ambience of dance in India and World: History and development of western ballet. Contemporary modern dance in India. Well – known Indian innovators and choreographers.
Designing of a Stage Production: The actual creation of a stage production, i.e., the production process in terms of:
Selection of the Subject
Writing the Synopsis
Selection and / or Writing of the Lyrics
Musical Arrangement
Direction and Choreography
Designing of Sets
Designing of Lighting
Designing of Costumes
The Ultimate Presentation
Critical Evaluation
A study of – seven established classical dance styles in terms of origin, history and development thereto.
Other well – established dance traditions like Chhau, Satriya, etc.
The influence of martial arts on the regional dance forms.
Drama and Dramatic Theories
Form of drama, Elements of Drama, Types of Drama, Various Styles of Drama in the context of various ISMS.
Important world dramatists and drama – From Greek to modern.
Contemporary Indian Theatre
Evolution of contemporary theatre in the context of development in Indian Theatre.
New trends in contemporary theatre since Independence movement.
Major movements and major theatre innovators and play wrights.
Acting / Direction
Different schools of acting – Greek to Grotowski, Important contemporary actors – internationally known.
Different directoral innovations and methods. Theories of modern stage.
Theatre Design and Techniques
Theatre Architecture – Greek to modern period.
Stage Craft – Set, Lights, Costumes, Make up, Sound, Props.
Theatre Techniques – From selection of script to final performance.
PERFORMING ARTS- DANCE/DRAMA/THEATRE ANSWER KEYS
1. Match items in List – I with List – II:
List – I List – II
a. Nartan Nirnaya i. Bhoja
b. Shringar Prakash ii. Sarangdeva
c. Bhava Prakash iii. Pundarika Vitthal
d. Sangit Ratnakar iv. Sharada Tanaya
Codes:
a b c d
(A) ii iv i iii
(B) ii iii iv i
(C) iii i iv ii
(D) iii ii i iv
Ans: C
2. The most prominent writer scholar of dance and its philosophy is
(A) Dr. V. Raghavan
(B) Dr. P.S.R. Appa Rao
(C) Dr. Arudra
(D) Dr. Kapila Vatsyayan
Ans: D
3. World Dance Day is celebrated on
(A) 29th April
(B) 27th July
(C) 6th June
(D) 10th February
Ans: A
4. Match items in List – I with List – II:
List – I List – II
a. Devilal Samar i. Yakshagana
b. Balwant Gargi ii. Rajasthan
c. Shambhu Hegade iii. Bhavai
d. Mansukh Joshi I v. Folk Theatre
Codes:
a b c d
(A) ii iv i ii
(B) ii iii i iv
(C) iii iv i iii
(D) iii ii i iv
Ans: A
5. The world celebrates Theatre Day as announce by UNESCO on
(A) 14th November
(B) 27th March
(C) 23rd March
(D) 31st October
Ans: B
6. Pick the odd one out
(A) Girija Devi
(B) M.S. Subbalakshmi
(C) Aban Mistry
(D) Siddheshwari Devi
Ans: C
7. Match items in List – I with List – II:
List – I List – II
a. Shabana Azmi i. Bindadin Maharaj
b. A.R. Raheman ii. Padmabhushan
c. Devadas iii. Dada Saheb Phalke Award
d. Bhupen Hazarika iv. Oscar
Codes:
a b c d
(A) ii iv i ii
(B) ii iv i iii
(C) iii iv i ii
(D) iii ii i iv
Ans: B
8. From the Epics, which character is often used in Dance and Drama to portray woman centric issues?
(A) Draupadi
(B) Sita
(C) Gandhari
(D) Kaikeyi
Ans: A
9. Assertion (A): Madhyamakar theatre is the best according to Bharata.
Reason (R): It has sufficient capacity for audiences.
(A) (A) is true, (R) is false.
(B) (A) is false, (R) is true.
(C) (A) is false, (R) is false.
(D) (A) is true, (R) is true.
Ans: A
10. Dr. Karan Singh is the Director General of
(A) IGNCA
(B) ICCR
(C) CCRT
(D) SNA
Ans: B
11. Assertion (A): Pratyahar is one part of Purvaranga.
Reason (R): Instruments are put in a proper place in Pratyahar.
Code:
(A) (A) is true, (R) is false.
(B) (A) is false, (R) is true.
(C) (A) is false, (R) is false.
(D) (A) is true, (R) is true.
Ans: D
12. Identify the correct sequence:
(A) Bhatta Lolata, Shankuka, Abhinavagupta, Bhatta Nayaka
(B) Bhatta Lolata, Bhatta Nayaka, Shankuka, Abhinavagupta
(C) Bhatta Lolata, Shankuka, Bhatta Nayaka, Abhinavagupta
(D) Abhinavagupta, Bhatta Nayaka, Bhatta Lolata, Shankuka
Ans: C
13. Assertion (A): The Karana-s and Angahara-s are part of Purvaranga of Natyashastra.
Reason (R): Both provide decorative embellishment to Natya.
(A) (A) is true, (R) is true.
(B) (A) is false, (R) is true.
(C) (A) is false, (R) is false.
(D) (A) is true, (R) is false.
Ans: D
14. Identify the correct sequence:
(A) Light of Asia, Charandas Chor, Tugluque, Krishnay Tubhyam Namh
(B) Krishnay Tubhyam Namh, Light of Asia, Charandas Chor, Tugluque
(C) Light of Asia, Charandas Chor, Krishnay Tubhyam Namh, Tugluque
(D) Light of Asia, Krishnay Tubhyam Namh, Tugluque, Charandas Chor
Ans: A
15. Assertion (A): Aharya Abhinaya is predominant in Kathakali.
Reason (R): Noh and Wayanga Wong have extensive make up.
(A) (A) is true, (R) is false.
(B) (A) is false, (R) is true.
(C) (A) is false, (R) is false.
(D) (A) is true, (R) is true.
Ans: A
16. Pick the odd one out:
(A) Minaxi Sheshdri
(B) Madhuri Dikshit
(C) Vaijayantimala Bali
(D) Vidya Balan
Ans: D
17. Pick the odd one out:
(A) Sri Lanka-Kendyan dance
(B) Thailand-Khon
(C) China-Peking Opera
(D) Bali-Royal Ballet
Ans: D
18. Match items in List – I with List – II:
List – I List – II
a. Zakir Hussain i. Sitar
b. Vikku Vinayak Rao ii. Mohan Veena
c. Shahid Parvez iii. Ghatam
d. Vishva Mohan Bhatt iv. Tabla
Codes:
a b c d
(A) iv iii i ii
(B) ii iii iv i
(C) iii iv i ii
(D) iii ii i iv
Ans: A
19. In context of Natasutra, the word Nata is first used in
(A) Astadhyayi of Panini
(B) Nrutyadhyaya of Ashokmalla
(C) Bharata’s Natyashastra
(D) Natya Darpana of Ramachandra Gunachandra
Ans: A
20. Assertion (A): The Devil dances of Sri Lanka are similar to the Bhutan of Tamil Nadu.
Reason (R): Both are part of Tamil culture.
(A) (A) is true, (R) is false.
(B) (A) is false, (R) is true.
(C) (A) is false, (R) is false.
(D) (A) is true, (R) is true.
Ans: C
21. Assertion (A): The Tritala and Aditala are much used in Dance.
Reason (R): Dance is a simple art form.
(A) (A) is true, (R) is false.
(B) (A) is false, (R) is true.
(C) (A) is false, (R) is false.
(D) (A) is true, (R) is true.
Ans: A
22. The status and facilities given to Dancers and Actors is given in
(A) Arthashastra
(B) Kamasutra
(C) ShukranitiSar
(D) Natya Lakshan Ratna Kosha
Ans: A
23. The most important Theatrical light device is
(A) Spot light
(B) Fresnel
(C) Flood light
(D) Strobe light
Ans: A
24. The technical instrument a must for sound on stage is
(A) Amplifier
(B) Speakers
(C) Mixer
(D) Microphone
Ans: A
25. Match items in List – I with List – II:
List – I List – II
a. Rasalila i. Gujarat
b. Dashavtar ii. Mathura
c. Giddad iii. Maharashtra
d. Padhar iv. Rajasthan
Codes:
a b c d
(A) iv iii ii i
(B) ii iii iv i
(C) iii iv i ii
(D) iii ii i iv
Ans: B
26. Which is the instrument used Kuttiattam?
(A) Mizhavu
(B) Na –k ārā
(C) Tappa
(D) Mukhaveena
Ans: A
27. Pick the odd one out
(A) Kedara
(B) Kalyani
(C) Devagandhari
(D) Jhaniha
Ans: D
28. Match the List – I with List – II
List – I List – II
a. Lavani i. Name of the Tala
b. Jhamp ii. Name of the Raga
c. Cha ac.a .di iii. Name of the musical composition
d. Bhoop iv. Name of the musical instrument
Codes:
a b c d
(A) ii iii i iv
(B) iii i iv ii
(C) i ii iv iii
(D) iv iii i ii
Ans: B
29. Match the List – I with List – II
List – I List – II
a. Kathakali i. Folk Dance
b. Garba ii. Dance Drama
c. Rabindra Sangit iii. Folk Theatre
d. Jatra iv. Musical form
Codes:
a b c d
(A) i iv ii iii
(B) i ii iii iv
(C) ii i iii iv
(D) ii i iv iii
Ans: C
30. Assertion (A): Ratan Thaiyam, Mallika Sarabhai and others are mixing theatre and dance.
Reason (R): They are polluting both forms.
Codes:
(A) (A) is false (R) is false.
(B) (A) is false (R) is true.
(C) (A) is true (R) is false.
(D) (A) is true (R) is true.
Ans: C
31. Identify the correct order in terms of geography (South to North):
(A) Bharatanatyam, Kuchipudi, Chhau, Baul Manipuri
(B) Bharatanatyam, Kuchipudi, Baul, Manipuri, Chhau
(C) Kuchipudi, Bharatanatayam, Chhau, Baul, Manipuri,
(D) Bharatanatyam, Kuchipudi, Baul, Chhau, Manipuri
Ans: A
32. Pick the odd one out:
(A) Malavika Sarukai
(B) Astad Daboo
(C) Nassiruddin Shah
(D) Prity Patel
Ans: C
33. Indian Foundation for Arts is
(A) A performance theatre
(B) Multi-cultural centre
(C) Branch of ford foundation
(D) Granting body
Ans: D
34. Assertion (A): The Natyashastra has an entire section on Music.
Reason (R): The music was used according to the requirement of the theatre production.
Codes:
(A) (A) is false (R) is false.
(B) (A) is false (R) is true.
(C) (A) is true (R) is false.
(D) (A) is true (R) is true.
Ans: D
35. Pick the odd one out:
The voice training is important to both theatre and dance practitioners as
(A) They can impress the audience
(B) It allows certain theatricality.
(C) Both need to speak or sing.
(D) It is one of the four modes of expression
Ans: D
36. Pick the odd one but. The leading characteristics of post-modern dance and theatre are
(A) Form dominates over content
(B) There is break down in stage audience communication
(C) Heavy use of visual images, stylized movements and groupings.
(D) The actors or dancers are not important.
Ans: C
37. Assertion (A): Time and space are the most important aspects of communication process.
Reason (R): Time and space are modern concepts.
Codes:
(A) (A) is true (R) is false.
(B) (A) is false (R) is true.
(C) (A) is false (R) is false.
(D) (A) is true (R) is true.
Ans: A
38. The South Indian theatre personality who has contributed much to dance music is
(A) Girish Karnad
(B) Kovalan Panikar Narayan
(C) Kamala Hassan
(D) Balmurali Krishnan
Ans: B
39. Pick the odd one out
(A) Bharat Ranga Mahotsav- Theatre
(B) The other festival – Contemporary Dance
(C) Savai Gandharva festival – Music
(D) Uday Shankar Festival – Dance
Ans: C
40. Match items in List – I with List – II
List – I List – II
a. Dhrupad i. Thangta
b. Mask ii. Pakhawaja
c. Puppet iii. Chhau
d. Sword-shield iv. Andhra Pradesh
Codes:
a b c d
(A) ii iii iv i
(B) ii iii i iv
(C) iii ii iv i
(D) iii iv ii i
Ans: A
41. The Puppet Theatre of SEA is known as
(A) Bunaraku
(B) Wayang
(C) Dalang
(D) Kabuki
Ans: B
42. Identify the correct full form of WZCC
(A) West Zone Capital Company
(B) Western Zone Cultural Capital
(C) West Zone Cultural Council
(D) West Zone Cultural Centre
Ans: D
43. Match items in List – I with List – II
List – I List – II
a. Kalaripayatu i. Body expression
b. Mime ii. Body exercises
c. Parikhanda iii. Whirling movements
d. Daravesh iv. Mind-body training
Codes:
a b c d
(A) iii ii i iv
(B) iv iii ii i
(C) i iv iii ii
(D) iv i ii iii
Ans: D
44. Identify the correct sequence:
(A) Natya Shastra, Greek Theatre, Ballet, Modern dance
(B) Greek Theatre, Natya Shastra, Ballet, Modern dance
(C) Natya Shastra, Ballet, Greek Theatre, Modern dance
(D) Natya Shastra, Greek Theatre, Modern dance, Ballet
Ans: B
45. Assertion (A): Critical writing in performing arts is of no value.
Reason (R): Artists are self-critical and do not read much.
Codes:
(A) (A) is true (R) is false.
(B) (A) is false (R) is true.
(C) (A) is false (R) is false.
(D) (A) is true (R) is true.
Ans: C
46. Match items in List – I with the items in List – II
List – I List – II
a. Kutiyattam i. Bhopal
b. K.N. Panikkar ii. Nartan Kairali
c. Ratan Thiyam iii. Sopanam
d. Ranga Mandala iv. Chorus Repertory
Codes:
a b c d
(A) iii ii i iv
(B) ii iii iv i
(C) i iv iii ii
(D) iv i ii iii
Ans: B
47. Assertion (A): The Performing Arts have always served as a very vital and potent means of communication.
Reason (R): In preliterate, non literate and semi-literate societies music, dance and theatrical forms have often been the most important vehicles for carrying a message.
Codes:
(A) Both (A) and (R) are true.
(B) (A) is false, (R) is true.
(C) (R) is false, (A) is true.
(D) Both (A) and (R) are false.
Ans: A
48. Assertion (A): The Indian Theatre tradition has survived only in the countryside.
Reason (R): The urban elite in India completely took to western style theatre during British colonial rule.
Codes:
(A) (A) is true (R) is false.
(B) Both (A) and (R) are false.
(C) Both (A) and (R) are true.
(D) (A) is false, (R) is true
Ans: C
49. International Theatre Institute (ITI) is set up by
(A) U.S.A.
(B) U.S.S.R.
(C) UNI
(D) UNESCO
Ans: D
50. The acting manual of Kutiyattam is known as
(A) Hastalakshan Kosha
(B) Kramadepika
(C) Gosthi
(D) Hasta-Deepika
Ans: B
List – I List – II
a. Nartan Nirnaya i. Bhoja
b. Shringar Prakash ii. Sarangdeva
c. Bhava Prakash iii. Pundarika Vitthal
d. Sangit Ratnakar iv. Sharada Tanaya
Codes:
a b c d
(A) ii iv i iii
(B) ii iii iv i
(C) iii i iv ii
(D) iii ii i iv
Ans: C
2. The most prominent writer scholar of dance and its philosophy is
(A) Dr. V. Raghavan
(B) Dr. P.S.R. Appa Rao
(C) Dr. Arudra
(D) Dr. Kapila Vatsyayan
Ans: D
3. World Dance Day is celebrated on
(A) 29th April
(B) 27th July
(C) 6th June
(D) 10th February
Ans: A
4. Match items in List – I with List – II:
List – I List – II
a. Devilal Samar i. Yakshagana
b. Balwant Gargi ii. Rajasthan
c. Shambhu Hegade iii. Bhavai
d. Mansukh Joshi I v. Folk Theatre
Codes:
a b c d
(A) ii iv i ii
(B) ii iii i iv
(C) iii iv i iii
(D) iii ii i iv
Ans: A
5. The world celebrates Theatre Day as announce by UNESCO on
(A) 14th November
(B) 27th March
(C) 23rd March
(D) 31st October
Ans: B
6. Pick the odd one out
(A) Girija Devi
(B) M.S. Subbalakshmi
(C) Aban Mistry
(D) Siddheshwari Devi
Ans: C
7. Match items in List – I with List – II:
List – I List – II
a. Shabana Azmi i. Bindadin Maharaj
b. A.R. Raheman ii. Padmabhushan
c. Devadas iii. Dada Saheb Phalke Award
d. Bhupen Hazarika iv. Oscar
Codes:
a b c d
(A) ii iv i ii
(B) ii iv i iii
(C) iii iv i ii
(D) iii ii i iv
Ans: B
8. From the Epics, which character is often used in Dance and Drama to portray woman centric issues?
(A) Draupadi
(B) Sita
(C) Gandhari
(D) Kaikeyi
Ans: A
9. Assertion (A): Madhyamakar theatre is the best according to Bharata.
Reason (R): It has sufficient capacity for audiences.
(A) (A) is true, (R) is false.
(B) (A) is false, (R) is true.
(C) (A) is false, (R) is false.
(D) (A) is true, (R) is true.
Ans: A
10. Dr. Karan Singh is the Director General of
(A) IGNCA
(B) ICCR
(C) CCRT
(D) SNA
Ans: B
11. Assertion (A): Pratyahar is one part of Purvaranga.
Reason (R): Instruments are put in a proper place in Pratyahar.
Code:
(A) (A) is true, (R) is false.
(B) (A) is false, (R) is true.
(C) (A) is false, (R) is false.
(D) (A) is true, (R) is true.
Ans: D
12. Identify the correct sequence:
(A) Bhatta Lolata, Shankuka, Abhinavagupta, Bhatta Nayaka
(B) Bhatta Lolata, Bhatta Nayaka, Shankuka, Abhinavagupta
(C) Bhatta Lolata, Shankuka, Bhatta Nayaka, Abhinavagupta
(D) Abhinavagupta, Bhatta Nayaka, Bhatta Lolata, Shankuka
Ans: C
13. Assertion (A): The Karana-s and Angahara-s are part of Purvaranga of Natyashastra.
Reason (R): Both provide decorative embellishment to Natya.
(A) (A) is true, (R) is true.
(B) (A) is false, (R) is true.
(C) (A) is false, (R) is false.
(D) (A) is true, (R) is false.
Ans: D
14. Identify the correct sequence:
(A) Light of Asia, Charandas Chor, Tugluque, Krishnay Tubhyam Namh
(B) Krishnay Tubhyam Namh, Light of Asia, Charandas Chor, Tugluque
(C) Light of Asia, Charandas Chor, Krishnay Tubhyam Namh, Tugluque
(D) Light of Asia, Krishnay Tubhyam Namh, Tugluque, Charandas Chor
Ans: A
15. Assertion (A): Aharya Abhinaya is predominant in Kathakali.
Reason (R): Noh and Wayanga Wong have extensive make up.
(A) (A) is true, (R) is false.
(B) (A) is false, (R) is true.
(C) (A) is false, (R) is false.
(D) (A) is true, (R) is true.
Ans: A
16. Pick the odd one out:
(A) Minaxi Sheshdri
(B) Madhuri Dikshit
(C) Vaijayantimala Bali
(D) Vidya Balan
Ans: D
17. Pick the odd one out:
(A) Sri Lanka-Kendyan dance
(B) Thailand-Khon
(C) China-Peking Opera
(D) Bali-Royal Ballet
Ans: D
18. Match items in List – I with List – II:
List – I List – II
a. Zakir Hussain i. Sitar
b. Vikku Vinayak Rao ii. Mohan Veena
c. Shahid Parvez iii. Ghatam
d. Vishva Mohan Bhatt iv. Tabla
Codes:
a b c d
(A) iv iii i ii
(B) ii iii iv i
(C) iii iv i ii
(D) iii ii i iv
Ans: A
19. In context of Natasutra, the word Nata is first used in
(A) Astadhyayi of Panini
(B) Nrutyadhyaya of Ashokmalla
(C) Bharata’s Natyashastra
(D) Natya Darpana of Ramachandra Gunachandra
Ans: A
20. Assertion (A): The Devil dances of Sri Lanka are similar to the Bhutan of Tamil Nadu.
Reason (R): Both are part of Tamil culture.
(A) (A) is true, (R) is false.
(B) (A) is false, (R) is true.
(C) (A) is false, (R) is false.
(D) (A) is true, (R) is true.
Ans: C
21. Assertion (A): The Tritala and Aditala are much used in Dance.
Reason (R): Dance is a simple art form.
(A) (A) is true, (R) is false.
(B) (A) is false, (R) is true.
(C) (A) is false, (R) is false.
(D) (A) is true, (R) is true.
Ans: A
22. The status and facilities given to Dancers and Actors is given in
(A) Arthashastra
(B) Kamasutra
(C) ShukranitiSar
(D) Natya Lakshan Ratna Kosha
Ans: A
23. The most important Theatrical light device is
(A) Spot light
(B) Fresnel
(C) Flood light
(D) Strobe light
Ans: A
24. The technical instrument a must for sound on stage is
(A) Amplifier
(B) Speakers
(C) Mixer
(D) Microphone
Ans: A
25. Match items in List – I with List – II:
List – I List – II
a. Rasalila i. Gujarat
b. Dashavtar ii. Mathura
c. Giddad iii. Maharashtra
d. Padhar iv. Rajasthan
Codes:
a b c d
(A) iv iii ii i
(B) ii iii iv i
(C) iii iv i ii
(D) iii ii i iv
Ans: B
26. Which is the instrument used Kuttiattam?
(A) Mizhavu
(B) Na –k ārā
(C) Tappa
(D) Mukhaveena
Ans: A
27. Pick the odd one out
(A) Kedara
(B) Kalyani
(C) Devagandhari
(D) Jhaniha
Ans: D
28. Match the List – I with List – II
List – I List – II
a. Lavani i. Name of the Tala
b. Jhamp ii. Name of the Raga
c. Cha ac.a .di iii. Name of the musical composition
d. Bhoop iv. Name of the musical instrument
Codes:
a b c d
(A) ii iii i iv
(B) iii i iv ii
(C) i ii iv iii
(D) iv iii i ii
Ans: B
29. Match the List – I with List – II
List – I List – II
a. Kathakali i. Folk Dance
b. Garba ii. Dance Drama
c. Rabindra Sangit iii. Folk Theatre
d. Jatra iv. Musical form
Codes:
a b c d
(A) i iv ii iii
(B) i ii iii iv
(C) ii i iii iv
(D) ii i iv iii
Ans: C
30. Assertion (A): Ratan Thaiyam, Mallika Sarabhai and others are mixing theatre and dance.
Reason (R): They are polluting both forms.
Codes:
(A) (A) is false (R) is false.
(B) (A) is false (R) is true.
(C) (A) is true (R) is false.
(D) (A) is true (R) is true.
Ans: C
31. Identify the correct order in terms of geography (South to North):
(A) Bharatanatyam, Kuchipudi, Chhau, Baul Manipuri
(B) Bharatanatyam, Kuchipudi, Baul, Manipuri, Chhau
(C) Kuchipudi, Bharatanatayam, Chhau, Baul, Manipuri,
(D) Bharatanatyam, Kuchipudi, Baul, Chhau, Manipuri
Ans: A
32. Pick the odd one out:
(A) Malavika Sarukai
(B) Astad Daboo
(C) Nassiruddin Shah
(D) Prity Patel
Ans: C
33. Indian Foundation for Arts is
(A) A performance theatre
(B) Multi-cultural centre
(C) Branch of ford foundation
(D) Granting body
Ans: D
34. Assertion (A): The Natyashastra has an entire section on Music.
Reason (R): The music was used according to the requirement of the theatre production.
Codes:
(A) (A) is false (R) is false.
(B) (A) is false (R) is true.
(C) (A) is true (R) is false.
(D) (A) is true (R) is true.
Ans: D
35. Pick the odd one out:
The voice training is important to both theatre and dance practitioners as
(A) They can impress the audience
(B) It allows certain theatricality.
(C) Both need to speak or sing.
(D) It is one of the four modes of expression
Ans: D
36. Pick the odd one but. The leading characteristics of post-modern dance and theatre are
(A) Form dominates over content
(B) There is break down in stage audience communication
(C) Heavy use of visual images, stylized movements and groupings.
(D) The actors or dancers are not important.
Ans: C
37. Assertion (A): Time and space are the most important aspects of communication process.
Reason (R): Time and space are modern concepts.
Codes:
(A) (A) is true (R) is false.
(B) (A) is false (R) is true.
(C) (A) is false (R) is false.
(D) (A) is true (R) is true.
Ans: A
38. The South Indian theatre personality who has contributed much to dance music is
(A) Girish Karnad
(B) Kovalan Panikar Narayan
(C) Kamala Hassan
(D) Balmurali Krishnan
Ans: B
39. Pick the odd one out
(A) Bharat Ranga Mahotsav- Theatre
(B) The other festival – Contemporary Dance
(C) Savai Gandharva festival – Music
(D) Uday Shankar Festival – Dance
Ans: C
40. Match items in List – I with List – II
List – I List – II
a. Dhrupad i. Thangta
b. Mask ii. Pakhawaja
c. Puppet iii. Chhau
d. Sword-shield iv. Andhra Pradesh
Codes:
a b c d
(A) ii iii iv i
(B) ii iii i iv
(C) iii ii iv i
(D) iii iv ii i
Ans: A
41. The Puppet Theatre of SEA is known as
(A) Bunaraku
(B) Wayang
(C) Dalang
(D) Kabuki
Ans: B
42. Identify the correct full form of WZCC
(A) West Zone Capital Company
(B) Western Zone Cultural Capital
(C) West Zone Cultural Council
(D) West Zone Cultural Centre
Ans: D
43. Match items in List – I with List – II
List – I List – II
a. Kalaripayatu i. Body expression
b. Mime ii. Body exercises
c. Parikhanda iii. Whirling movements
d. Daravesh iv. Mind-body training
Codes:
a b c d
(A) iii ii i iv
(B) iv iii ii i
(C) i iv iii ii
(D) iv i ii iii
Ans: D
44. Identify the correct sequence:
(A) Natya Shastra, Greek Theatre, Ballet, Modern dance
(B) Greek Theatre, Natya Shastra, Ballet, Modern dance
(C) Natya Shastra, Ballet, Greek Theatre, Modern dance
(D) Natya Shastra, Greek Theatre, Modern dance, Ballet
Ans: B
45. Assertion (A): Critical writing in performing arts is of no value.
Reason (R): Artists are self-critical and do not read much.
Codes:
(A) (A) is true (R) is false.
(B) (A) is false (R) is true.
(C) (A) is false (R) is false.
(D) (A) is true (R) is true.
Ans: C
46. Match items in List – I with the items in List – II
List – I List – II
a. Kutiyattam i. Bhopal
b. K.N. Panikkar ii. Nartan Kairali
c. Ratan Thiyam iii. Sopanam
d. Ranga Mandala iv. Chorus Repertory
Codes:
a b c d
(A) iii ii i iv
(B) ii iii iv i
(C) i iv iii ii
(D) iv i ii iii
Ans: B
47. Assertion (A): The Performing Arts have always served as a very vital and potent means of communication.
Reason (R): In preliterate, non literate and semi-literate societies music, dance and theatrical forms have often been the most important vehicles for carrying a message.
Codes:
(A) Both (A) and (R) are true.
(B) (A) is false, (R) is true.
(C) (R) is false, (A) is true.
(D) Both (A) and (R) are false.
Ans: A
48. Assertion (A): The Indian Theatre tradition has survived only in the countryside.
Reason (R): The urban elite in India completely took to western style theatre during British colonial rule.
Codes:
(A) (A) is true (R) is false.
(B) Both (A) and (R) are false.
(C) Both (A) and (R) are true.
(D) (A) is false, (R) is true
Ans: C
49. International Theatre Institute (ITI) is set up by
(A) U.S.A.
(B) U.S.S.R.
(C) UNI
(D) UNESCO
Ans: D
50. The acting manual of Kutiyattam is known as
(A) Hastalakshan Kosha
(B) Kramadepika
(C) Gosthi
(D) Hasta-Deepika
Ans: B
51. Pick the odd one out
(A) Kovalan - Kannagi
(B) Indrajit - Sulochana
(C) Lakshmana - Uramila
(D) Ravana – Madhavi
Ans: D
52. Who has been given transformation by the touch of ‘Rama’?
(A) Jataayu
(B) Ahalya
(C) Sugreeva
(D) Guha
Ans: B
53. Which character creates conflict between Pandavaa-s and Kauravaa-s?
(A) Sakuni
(B) Krishna
(C) Karna
(D) Dussasana
Ans: A
54. Who is the eldest ‘son’ of Kunthi ?
(A) Dharma Raj
(B) Duryodhan
(C) Karna
(D) Bheem
Ans: C
55. Match the following:
List – I List – II
(a) Gaandhari (i) Ravana
(b) Draupadi (ii) Dhritaraashtra
(c) Mandodari (iii) Karna
(d) Vrishalini (iv) Paandavas
Codes:
(a) (b) (c) (d)
(A) (ii) (iv) (i) (iii)
(B) (iii) (i) (iv) (ii)
(C) (i) (iv) (ii) (iii)
(D) (iv) (ii) (iii) (i)
Ans: A
56. ‘Bhishma’ a character in ‘Mahabharat’ killd by
(A) Sikhandi
(B) Sahadeva
(C) Aswathama
(D) Durjaya
Ans: A
57. Trace out the wife of ‘Vaali’, a character in Ramayana
(A) Mandara
(B) Urmila
(C) Tara
(D) Soorpankha
Ans: C
58. Assertion (A): Performing Arts of India brings to mind the single body and many armed image of Durga or of Siva in the form of Natraj. These symbols are the continual play of energy and rhythm in plural forms.
Reason (R): There are traditions, and not one tradition of the performing Arts in the vast Geographical area, all are characterised by a staggering multiplicity of genres, forms, styles and techniques.
Codes:
(A) (A) is true and (R) is true
(B) (A) is false and (R) is true
(C) (A) is false and (R) is false
(D) (A) is true and (R) is false
Ans: A
59. Matching the following:
List – I List – II
(a) Bhojya Rasa (i) Sri Sankuka
(b) Chitraturga Nyaya (ii) Bharat Muni
(c) Tadanuroop Anusandhan (iii) Bhat Nayak
(d) Sadharanikaran (iv) Bhatlollata
Code:
(a) (b) (c) (d)
(A) (i) (ii) (iii) (iv)
(B) (iii) (iv) (ii) (i)
(C) (ii) (i) (iv) (iii)
(D) (iv) (iii) (i) (ii)
Ans: C
60. The blissful state created by the experience of RASA is called as
(A) Ananda
(B) Paramananda
(C) Brahmananda
(D) Akhandananda
Ans: C
61. ‘Dharmi’ point of view, one of the ‘Rupaka-s’ given here is different from others. Pick it.
(A) Prahasana
(B) Veedhi
(C) Samavakara
(D) Nataka
Ans: A
62. ‘Mukha raga’ means
(A) Size of the body
(B) Size of eyes
(C) Colour of the face
(D) Photogenic
Ans: C
63. Match the following:
List – I List – II
(a) Sub-division of ‘Sringara’ (i) 4
(b) Sub-division of ‘Haasya’ (ii) 3
(c) Sub-divisions of ‘Karuna’ (iii) 6
(d) Independent ‘Raga-s’ (iv) 2
Codes:
(a) (b) (c) (d)
(A) (iii) (iv) (i) (ii)
(B) (i) (ii) (iii) (iv)
(C) (ii) (iv) (i) (iii)
(D) (iv) (iii) (ii) (i)
Ans: A
64. Assertion (A): The tongue experiences, the tastes (Physical rasa-s) and in ‘Natya’ (Drama) the mind experiences pleasures from the various aesthetic rasa-s caused by distinctive emotions.
Reasons (R): If mind won’t permit even the physical rasa-s also cannot be identified/ experienced. So no relativity between physical and mental experiences.
Codes:
(A) (A) is correct and (R) is wrong
(B) Both (A) and (R) are wrong
(C) (R) is right and (A) is wrong
(D) (A) and (R) both are right
Ans: A
65. Here, we have the ‘Kaaryavasthas’. Put in order as mentioned in Natya Sastra
(A) Prayatna, Praaptisambhava, Phalayoga, Niyatapti, Prarambha
(B) Niyatapti, Prarambha, Phalayoga, Praaptisambhava, Prayatna
(C) Praaptisambhava, Prayatna, Prarambha, Niyatapti, Phalayoga
(D)Prarambha, Prayatana, Praapatisambhava, Phalyoga, Niyatapti
Ans: D
66. Assertion (A): The stratified attitude of the tradition often drags and is rigid.
Reason (R): This dampens the spirit of creativity and experimentation. Considered the prana of Performing Arts.
Codes:
(A) (A) and (R) both are wrong
(B) Both (A) and (R) are correct
(C) (A) is wrong and (R) is correct
(D) (R) is wrong and (A) is correct
Ans: A
67. ‘Narasimha-Prahlad’, a traditional theatre form popular in
(A) Odisha
(B) Rajasthan
(C) Goa
(D) Tamilnadu
Ans: A
68. Match the following:
List – I List – II
(a) Glove puppets (i) Rajasthan
(b) Rod puppets (ii) Andhra Pradesh
(c) String puppets (iii) Kerala
(d) Leather puppets (iv) West Bengal
Codes:
(a) (b) (c) (d)
(A) (iii) (iv) (i) (ii)
(B) (ii) (i) (iii) (iv)
(C) (i) (ii) (iv) (iii)
(D) (iv) (iii) (ii) (i)
Ans: A
69. ‘AMPHI’ Theatre located in
(A) Saanchi
(B) Amarnath
(C) Nagarjuna Konda
(D) Amaravathi
Ans: C
70. Match the following:
List – I List – II
(a) Ranganatha Ramayan (i) Tamil Nadu
(b) Pamba Ramayana (ii) Uttar Pradesh
(c) Tulasi Ramayana (iii) Karnataka
(d) Kamba Ramayana (iv) Andhra Pradesh
Codes:
(a) (b) (c) (d)
(A) (iv) (iii) (ii) (i)
(B) (i) (ii) (iv) (iii)
(C) (ii) (i) (iii) (iv)
(D) (iii) (iv) (i) (ii)
Ans: A
71. Pick the odd man out
(A) Vidushaka
(B) Kethigadu
(C) Komali
(D) Katti Veshagadu
Ans: D
72. Here we have modern street theatre activists. Put them in older:
(A) Safdar Hashmi, Prasanna, Badal Sarkar, Pralayan
(B) Prasanna, Safdar Hashmi, Pralayan, Badal Sarkar
(C) Badal Sarkar, Safdar Hashmi, Prasanna, Pralayan
(D) Pralayan, Safdar Hashmi, Badal Sarkar, Prasanna
Ans: C
73. Pick the odd one out
(A) Costumes
(B) Lights
(C) Kuchal
(D) Stage
Ans: C
74. Which is the instrument used in “Yakshagana”?
(A) Maddale
(B) Piano
(C) Flute
(D) Dilruba
Ans: A
75. Select the correct pair
(A) Mardal – Ballet
(B) Jhumara – Muscial composition
(C) Dhenuka – Name of the Instrument
(D) Gokula – Name of the Nirgamona Raga
Ans: B
76. Who is the well-known composer of music?
(A) Girish Karnad
(B) Sri Mutthuswamy Dixita
(C) Bhimsen Joshi
(D) Sonal Mansingh
Ans: B
77. Select the correct pair
(A) Kapi – Nata
(B) Kalyani – Bhairav
(C) Abeheri – Bheempalas
(D) Yamman – Mayamalavagowla
Ans: C
78. Match the List – I with List – II
List – I List – II
(a) Mrudangam (i) Tantuvadya
(b) Sitar (ii) Wind instrument
(c) Flute (iii) Metal
(d) Gejje (iv) Percussion
Codes:
(a) (b) (c) (d)
(A) (iv) (i) (ii) (iii)
(B) (iii) (ii) (i) (iv)
(C) (ii) (i) (iv) (iii)
(D) (i) (iv) (iii) (ii)
Ans: A
79. Match items in List – I with List – II
List – I List – II
(a) Cambodia (i) Gaisha
(b) Japan (ii) Bharata Guru
(c) Bali (iii) Angakorvat
(d) Thailand (iv) Wooden masks
Codes:
(a) (b) (c) (d)
(A) (iii) (i) (iv) (ii)
(B) (iii) (ii) (i) (iv)
(C) (ii) (i) (iii) (iv)
(D) (i) (ii) (iii) (iv)
Ans: A
80. Pick the odd one out.
The choreographers and directors known for using both idioms of dance and theatre in their productions are
(A) E. Alkazi
(B) Ratan Thaiyam
(C) Mrinalini Sarabhai
(D) Uday Shankar
Ans: A
81. Identify the correct sequence:
(A) Leelavati, Angika, Draupadi, Stree
(B) Angika, Leelavati, Draupadi, Stree
(C) Leelavati, Angika, Stree, Draupadi
(D) Leelavati, Draupadi, Angika, Stree
Ans: B
82. Assertion (A): Chhau and Kalaripayatu are now used both in dance and theatre.
Reason (R): Both forms provide muscular strength and concentration of mind.
Codes:
(A) (A) is true (R) is false.
(B) (A) is false (R) is true.
(C) (A) is false (R) is false.
(D) (A) is true (R) is true.
Ans: D
83. Pick the odd one out:
(A) Udiyanam
(B) Vesthi
(C) Mangemala
(D) Mekhala Chaddar
Ans: D
84. Assertion (A): It is expected of artists to experiment and be creative.
Reason (R): The fusion of forms is the easy way to stardom.
Codes:
(A) (A) is true (R) is false.
(B) (A) is false (R) is true.
(C) (A) is false (R) is false.
(D) (A) is true (R) is true.
Ans: A
85. Assertion (A): Many new theatrical productions are found more suitable for projection in the media paving the way for a closer relation between theatre and television.
Reason (R): Our urban theatre has also been drawing upon our traditional sources more and more, thus acquiring a new artistic identify and thrust.
Codes:
(A) Both (A) and (R) are true.
(B) (A) is true, (R) is false.
(C) (R) is true, (A) is false.
(D) Both (A) and (R) are false.
Ans: A
86. Match items in List – I with List – II
List – I List – II
(a) Amal Allana (i) Theatre
(b) Santa Sarbjit Singh (ii) NSD
(c) Neelam Manish Chaudhari (iii) SNA
(d) Manjari Sinha (iv) Critic
Codes:
(a) (b) (c) (d)
(A) (ii) (iii) (i) (iv)
(B) (ii) (iii) (iv) (i)
(C) (i) (ii) (iii) (iv)
(D) (iv) (iii) (ii) (i)
Ans: A
87. SPICMACAY stands for
(A) Society for Performance of Indian classical Music and Culture Amongst Youth
(B) Society for Performance of Indian Classical Music and Culinary Arts amongst Youth
(C) Society for Promotion of Indian Classical Music and Culture amongst Youth
(D) Society for Promotion of Indian Classical Magic and Culture amongst Youth
Ans: C
88. The 2012 ‘Padma Vibhushan’ was awarded to
(A) Prof. K. G. Subramaniam
(B) Dr. Bhupen Hazarika
(C) Khaled Chaudhari
(D) Devanand
Ans: B
89. Who is identified as intangible cultural heritage by UNESCO?
(A) Chandralekha
(B) Yakshagana
(C) Mani Madhav Chakiyar
(D) Pt. Birju Maharaj
Ans: C
90. Match items in List – I with List – II
List – I List – II
(a) Broadway (i) Mumbai
(b) NCPA (ii) New Delhi
(c) Opera (iii) New York
(d) Siri Fort Theatre (iv) Paris
Codes:
(a) (b) (c) (d)
(A) (i) (ii) (iii) (iv)
(B) (iii) (i) (iv) (ii)
(C) (i) (iii) (ii) (iv)
(D) (iv) (iii) (ii) (i)
Ans: B
91. Assertion (A): The modern and classical dance and theatre go hand in hand.
Reason (R): Ramayana is performed differently.
Codes:
(A) (A) is true (R) is false.
(B) (A) is false (R) is true.
(C) (A) is false (R) is false.
(D) (A) is true (R) is true.
Ans: D
92. Pick the odd one out:
The 2012 Padmashree awardees is
(A) Satish Alekar
(B) Yamunabai Waikar
(C) M. S. Gopalkrishna
(D) Sakarkhan Manganiar
Ans: C
93. Pick the odd one out:
The Universities with Departments of Dance, Drama and Music are
(A) The M. S. University of Baroda
(B) Khairagarh University
(C) Ravindra Bharati University
(D) Jawaharlal Nehru University
Ans: D
94. Assertion (A): The use of lights brings out details in theatrical performance.
Reason (R): Because of make-up lights are needed.
Codes:
(A) (A) is true (R) is false.
(B) (A) is false (R) is true.
(C) (A) is false (R) is false.
(D) (A) is true (R) is true.
Ans: C
95. Match items in List – I with List – II
List – I List – II
(a) Pandawani (i) Philip zarilli
(b) Santwani (ii) Tijanbai
(c) Kudiattam (iii) Kanak Rele
(d) Kathakali (iv) Farley Richmond
Codes:
(a) (b) (c) (d)
(A) (iii) (i) (ii) (iii)
(B) (ii) (iv) (i) (iii)
(C) (ii) (iii) (iv) (i)
(D) (ii) (iii) (i) (iv)
Ans: C
96. Match the items in List – I with the items in List – II.
List – I List – II
(a) Little Balet Theatre (i) Mysore
(b) Rangayan (ii) Gul Bardhan
(c) Atta Kalari (iii) Maya Rao
(d) STEM Theatre (iv) Banglore
Codes:
(a) (b) (c) (d)
(A) (i) (ii) (iii) (iv)
(B) (iv) (iii) (i) (ii)
(C) (ii) (i) (iv) (iii)
(D) (iii) (iv) (ii) (i)
Ans: C
97. Assertion (A): Arts and Meida – it seems they are old adversaries with a long past of a love-hate relationship.
Reason (R): They have often been considered to be in opposition to each other or as mutually exclusive.
Codes:
(A) Both (A) and (R) are false.
(B) (A) is true, (R) is false.
(C) (R) is true, (A) is false.
(D) Both (A) and (R) are true.
Ans: D
98. The most extensively used dance notation system of the 20th Cent is by
(A) Jean Georges Noverre
(B) Rudolf Laban
(C) Alexander
(D) Elia Kazan
Ans: B
99. The Dance and Drama Institution which has been proved a turning point in the history of performing arts in modern period
(A) INT
(B) IPTA
(C) NSD
(D) NCPA
Ans: B
(A) Kovalan - Kannagi
(B) Indrajit - Sulochana
(C) Lakshmana - Uramila
(D) Ravana – Madhavi
Ans: D
52. Who has been given transformation by the touch of ‘Rama’?
(A) Jataayu
(B) Ahalya
(C) Sugreeva
(D) Guha
Ans: B
53. Which character creates conflict between Pandavaa-s and Kauravaa-s?
(A) Sakuni
(B) Krishna
(C) Karna
(D) Dussasana
Ans: A
54. Who is the eldest ‘son’ of Kunthi ?
(A) Dharma Raj
(B) Duryodhan
(C) Karna
(D) Bheem
Ans: C
55. Match the following:
List – I List – II
(a) Gaandhari (i) Ravana
(b) Draupadi (ii) Dhritaraashtra
(c) Mandodari (iii) Karna
(d) Vrishalini (iv) Paandavas
Codes:
(a) (b) (c) (d)
(A) (ii) (iv) (i) (iii)
(B) (iii) (i) (iv) (ii)
(C) (i) (iv) (ii) (iii)
(D) (iv) (ii) (iii) (i)
Ans: A
56. ‘Bhishma’ a character in ‘Mahabharat’ killd by
(A) Sikhandi
(B) Sahadeva
(C) Aswathama
(D) Durjaya
Ans: A
57. Trace out the wife of ‘Vaali’, a character in Ramayana
(A) Mandara
(B) Urmila
(C) Tara
(D) Soorpankha
Ans: C
58. Assertion (A): Performing Arts of India brings to mind the single body and many armed image of Durga or of Siva in the form of Natraj. These symbols are the continual play of energy and rhythm in plural forms.
Reason (R): There are traditions, and not one tradition of the performing Arts in the vast Geographical area, all are characterised by a staggering multiplicity of genres, forms, styles and techniques.
Codes:
(A) (A) is true and (R) is true
(B) (A) is false and (R) is true
(C) (A) is false and (R) is false
(D) (A) is true and (R) is false
Ans: A
59. Matching the following:
List – I List – II
(a) Bhojya Rasa (i) Sri Sankuka
(b) Chitraturga Nyaya (ii) Bharat Muni
(c) Tadanuroop Anusandhan (iii) Bhat Nayak
(d) Sadharanikaran (iv) Bhatlollata
Code:
(a) (b) (c) (d)
(A) (i) (ii) (iii) (iv)
(B) (iii) (iv) (ii) (i)
(C) (ii) (i) (iv) (iii)
(D) (iv) (iii) (i) (ii)
Ans: C
60. The blissful state created by the experience of RASA is called as
(A) Ananda
(B) Paramananda
(C) Brahmananda
(D) Akhandananda
Ans: C
61. ‘Dharmi’ point of view, one of the ‘Rupaka-s’ given here is different from others. Pick it.
(A) Prahasana
(B) Veedhi
(C) Samavakara
(D) Nataka
Ans: A
62. ‘Mukha raga’ means
(A) Size of the body
(B) Size of eyes
(C) Colour of the face
(D) Photogenic
Ans: C
63. Match the following:
List – I List – II
(a) Sub-division of ‘Sringara’ (i) 4
(b) Sub-division of ‘Haasya’ (ii) 3
(c) Sub-divisions of ‘Karuna’ (iii) 6
(d) Independent ‘Raga-s’ (iv) 2
Codes:
(a) (b) (c) (d)
(A) (iii) (iv) (i) (ii)
(B) (i) (ii) (iii) (iv)
(C) (ii) (iv) (i) (iii)
(D) (iv) (iii) (ii) (i)
Ans: A
64. Assertion (A): The tongue experiences, the tastes (Physical rasa-s) and in ‘Natya’ (Drama) the mind experiences pleasures from the various aesthetic rasa-s caused by distinctive emotions.
Reasons (R): If mind won’t permit even the physical rasa-s also cannot be identified/ experienced. So no relativity between physical and mental experiences.
Codes:
(A) (A) is correct and (R) is wrong
(B) Both (A) and (R) are wrong
(C) (R) is right and (A) is wrong
(D) (A) and (R) both are right
Ans: A
65. Here, we have the ‘Kaaryavasthas’. Put in order as mentioned in Natya Sastra
(A) Prayatna, Praaptisambhava, Phalayoga, Niyatapti, Prarambha
(B) Niyatapti, Prarambha, Phalayoga, Praaptisambhava, Prayatna
(C) Praaptisambhava, Prayatna, Prarambha, Niyatapti, Phalayoga
(D)Prarambha, Prayatana, Praapatisambhava, Phalyoga, Niyatapti
Ans: D
66. Assertion (A): The stratified attitude of the tradition often drags and is rigid.
Reason (R): This dampens the spirit of creativity and experimentation. Considered the prana of Performing Arts.
Codes:
(A) (A) and (R) both are wrong
(B) Both (A) and (R) are correct
(C) (A) is wrong and (R) is correct
(D) (R) is wrong and (A) is correct
Ans: A
67. ‘Narasimha-Prahlad’, a traditional theatre form popular in
(A) Odisha
(B) Rajasthan
(C) Goa
(D) Tamilnadu
Ans: A
68. Match the following:
List – I List – II
(a) Glove puppets (i) Rajasthan
(b) Rod puppets (ii) Andhra Pradesh
(c) String puppets (iii) Kerala
(d) Leather puppets (iv) West Bengal
Codes:
(a) (b) (c) (d)
(A) (iii) (iv) (i) (ii)
(B) (ii) (i) (iii) (iv)
(C) (i) (ii) (iv) (iii)
(D) (iv) (iii) (ii) (i)
Ans: A
69. ‘AMPHI’ Theatre located in
(A) Saanchi
(B) Amarnath
(C) Nagarjuna Konda
(D) Amaravathi
Ans: C
70. Match the following:
List – I List – II
(a) Ranganatha Ramayan (i) Tamil Nadu
(b) Pamba Ramayana (ii) Uttar Pradesh
(c) Tulasi Ramayana (iii) Karnataka
(d) Kamba Ramayana (iv) Andhra Pradesh
Codes:
(a) (b) (c) (d)
(A) (iv) (iii) (ii) (i)
(B) (i) (ii) (iv) (iii)
(C) (ii) (i) (iii) (iv)
(D) (iii) (iv) (i) (ii)
Ans: A
71. Pick the odd man out
(A) Vidushaka
(B) Kethigadu
(C) Komali
(D) Katti Veshagadu
Ans: D
72. Here we have modern street theatre activists. Put them in older:
(A) Safdar Hashmi, Prasanna, Badal Sarkar, Pralayan
(B) Prasanna, Safdar Hashmi, Pralayan, Badal Sarkar
(C) Badal Sarkar, Safdar Hashmi, Prasanna, Pralayan
(D) Pralayan, Safdar Hashmi, Badal Sarkar, Prasanna
Ans: C
73. Pick the odd one out
(A) Costumes
(B) Lights
(C) Kuchal
(D) Stage
Ans: C
74. Which is the instrument used in “Yakshagana”?
(A) Maddale
(B) Piano
(C) Flute
(D) Dilruba
Ans: A
75. Select the correct pair
(A) Mardal – Ballet
(B) Jhumara – Muscial composition
(C) Dhenuka – Name of the Instrument
(D) Gokula – Name of the Nirgamona Raga
Ans: B
76. Who is the well-known composer of music?
(A) Girish Karnad
(B) Sri Mutthuswamy Dixita
(C) Bhimsen Joshi
(D) Sonal Mansingh
Ans: B
77. Select the correct pair
(A) Kapi – Nata
(B) Kalyani – Bhairav
(C) Abeheri – Bheempalas
(D) Yamman – Mayamalavagowla
Ans: C
78. Match the List – I with List – II
List – I List – II
(a) Mrudangam (i) Tantuvadya
(b) Sitar (ii) Wind instrument
(c) Flute (iii) Metal
(d) Gejje (iv) Percussion
Codes:
(a) (b) (c) (d)
(A) (iv) (i) (ii) (iii)
(B) (iii) (ii) (i) (iv)
(C) (ii) (i) (iv) (iii)
(D) (i) (iv) (iii) (ii)
Ans: A
79. Match items in List – I with List – II
List – I List – II
(a) Cambodia (i) Gaisha
(b) Japan (ii) Bharata Guru
(c) Bali (iii) Angakorvat
(d) Thailand (iv) Wooden masks
Codes:
(a) (b) (c) (d)
(A) (iii) (i) (iv) (ii)
(B) (iii) (ii) (i) (iv)
(C) (ii) (i) (iii) (iv)
(D) (i) (ii) (iii) (iv)
Ans: A
80. Pick the odd one out.
The choreographers and directors known for using both idioms of dance and theatre in their productions are
(A) E. Alkazi
(B) Ratan Thaiyam
(C) Mrinalini Sarabhai
(D) Uday Shankar
Ans: A
81. Identify the correct sequence:
(A) Leelavati, Angika, Draupadi, Stree
(B) Angika, Leelavati, Draupadi, Stree
(C) Leelavati, Angika, Stree, Draupadi
(D) Leelavati, Draupadi, Angika, Stree
Ans: B
82. Assertion (A): Chhau and Kalaripayatu are now used both in dance and theatre.
Reason (R): Both forms provide muscular strength and concentration of mind.
Codes:
(A) (A) is true (R) is false.
(B) (A) is false (R) is true.
(C) (A) is false (R) is false.
(D) (A) is true (R) is true.
Ans: D
83. Pick the odd one out:
(A) Udiyanam
(B) Vesthi
(C) Mangemala
(D) Mekhala Chaddar
Ans: D
84. Assertion (A): It is expected of artists to experiment and be creative.
Reason (R): The fusion of forms is the easy way to stardom.
Codes:
(A) (A) is true (R) is false.
(B) (A) is false (R) is true.
(C) (A) is false (R) is false.
(D) (A) is true (R) is true.
Ans: A
85. Assertion (A): Many new theatrical productions are found more suitable for projection in the media paving the way for a closer relation between theatre and television.
Reason (R): Our urban theatre has also been drawing upon our traditional sources more and more, thus acquiring a new artistic identify and thrust.
Codes:
(A) Both (A) and (R) are true.
(B) (A) is true, (R) is false.
(C) (R) is true, (A) is false.
(D) Both (A) and (R) are false.
Ans: A
86. Match items in List – I with List – II
List – I List – II
(a) Amal Allana (i) Theatre
(b) Santa Sarbjit Singh (ii) NSD
(c) Neelam Manish Chaudhari (iii) SNA
(d) Manjari Sinha (iv) Critic
Codes:
(a) (b) (c) (d)
(A) (ii) (iii) (i) (iv)
(B) (ii) (iii) (iv) (i)
(C) (i) (ii) (iii) (iv)
(D) (iv) (iii) (ii) (i)
Ans: A
87. SPICMACAY stands for
(A) Society for Performance of Indian classical Music and Culture Amongst Youth
(B) Society for Performance of Indian Classical Music and Culinary Arts amongst Youth
(C) Society for Promotion of Indian Classical Music and Culture amongst Youth
(D) Society for Promotion of Indian Classical Magic and Culture amongst Youth
Ans: C
88. The 2012 ‘Padma Vibhushan’ was awarded to
(A) Prof. K. G. Subramaniam
(B) Dr. Bhupen Hazarika
(C) Khaled Chaudhari
(D) Devanand
Ans: B
89. Who is identified as intangible cultural heritage by UNESCO?
(A) Chandralekha
(B) Yakshagana
(C) Mani Madhav Chakiyar
(D) Pt. Birju Maharaj
Ans: C
90. Match items in List – I with List – II
List – I List – II
(a) Broadway (i) Mumbai
(b) NCPA (ii) New Delhi
(c) Opera (iii) New York
(d) Siri Fort Theatre (iv) Paris
Codes:
(a) (b) (c) (d)
(A) (i) (ii) (iii) (iv)
(B) (iii) (i) (iv) (ii)
(C) (i) (iii) (ii) (iv)
(D) (iv) (iii) (ii) (i)
Ans: B
91. Assertion (A): The modern and classical dance and theatre go hand in hand.
Reason (R): Ramayana is performed differently.
Codes:
(A) (A) is true (R) is false.
(B) (A) is false (R) is true.
(C) (A) is false (R) is false.
(D) (A) is true (R) is true.
Ans: D
92. Pick the odd one out:
The 2012 Padmashree awardees is
(A) Satish Alekar
(B) Yamunabai Waikar
(C) M. S. Gopalkrishna
(D) Sakarkhan Manganiar
Ans: C
93. Pick the odd one out:
The Universities with Departments of Dance, Drama and Music are
(A) The M. S. University of Baroda
(B) Khairagarh University
(C) Ravindra Bharati University
(D) Jawaharlal Nehru University
Ans: D
94. Assertion (A): The use of lights brings out details in theatrical performance.
Reason (R): Because of make-up lights are needed.
Codes:
(A) (A) is true (R) is false.
(B) (A) is false (R) is true.
(C) (A) is false (R) is false.
(D) (A) is true (R) is true.
Ans: C
95. Match items in List – I with List – II
List – I List – II
(a) Pandawani (i) Philip zarilli
(b) Santwani (ii) Tijanbai
(c) Kudiattam (iii) Kanak Rele
(d) Kathakali (iv) Farley Richmond
Codes:
(a) (b) (c) (d)
(A) (iii) (i) (ii) (iii)
(B) (ii) (iv) (i) (iii)
(C) (ii) (iii) (iv) (i)
(D) (ii) (iii) (i) (iv)
Ans: C
96. Match the items in List – I with the items in List – II.
List – I List – II
(a) Little Balet Theatre (i) Mysore
(b) Rangayan (ii) Gul Bardhan
(c) Atta Kalari (iii) Maya Rao
(d) STEM Theatre (iv) Banglore
Codes:
(a) (b) (c) (d)
(A) (i) (ii) (iii) (iv)
(B) (iv) (iii) (i) (ii)
(C) (ii) (i) (iv) (iii)
(D) (iii) (iv) (ii) (i)
Ans: C
97. Assertion (A): Arts and Meida – it seems they are old adversaries with a long past of a love-hate relationship.
Reason (R): They have often been considered to be in opposition to each other or as mutually exclusive.
Codes:
(A) Both (A) and (R) are false.
(B) (A) is true, (R) is false.
(C) (R) is true, (A) is false.
(D) Both (A) and (R) are true.
Ans: D
98. The most extensively used dance notation system of the 20th Cent is by
(A) Jean Georges Noverre
(B) Rudolf Laban
(C) Alexander
(D) Elia Kazan
Ans: B
99. The Dance and Drama Institution which has been proved a turning point in the history of performing arts in modern period
(A) INT
(B) IPTA
(C) NSD
(D) NCPA
Ans: B