2011 June - P 3

PAPER-III
PERFORMING ARTS
Signature and Name of Invigilator
1. (Signature) __________________________
(Name) ____________________________ Roll No.
2. (Signature) __________________________ (In figures as per admission card)
(Name) ____________________________
Roll No.________________________________
J 65 1 1 (In words)
Time : 2 1/2 hours] [Maximum Marks : 200

Number of Pages in this Booklet : 40 Number of Questions in this Booklet : 19
Instructions for the Candidates ¯Ö¸ßõÖÖÙ£ÖµÖÖë Ûê ×»Ö‹ ×®Ö¤ì ¿Ö
1. Write your roll number in the space provided on the top 1. ¯ÖÆ»Öê ¯ÖéÂš Ûê ‰ ¯Ö¸ ×®ÖµÖŸÖ Ã£ÖÖ®Ö ¯Ö¸ †¯Ö®ÖÖ ¸Öê»Ö ®Ö´²Ö¸ ×»Ö×ÜÖ‹ …
of this page.
2. »Ö‘Öã ¯ÖÏ¿®Ö ŸÖ£ÖÖ ×®Ö²ÖÓ¬Ö ¯ÖÏÛ Ö¸ Ûê ¯ÖÏ¿®ÖÖë Ûê ˆ¢Ö¸, ¯ÖÏŸµÖêÛ ¯ÖÏ¿®Ö Ûê ®Öß“Öê
2. Answer to short answer/essay type questions are to be µÖÖ ¯ÖÏ¿®ÖÖë Ûê ²ÖÖ¤ ´Öë ×¤µÖê Æã ‹ ×¸ŒŸÖ Ã£ÖÖ®Ö ¯Ö¸ Æß ×»Ö×ÜÖµÖê …
given in the space provided below each question or
after the questions in the Test Booklet itself.
‡ÃÖÛê ×»Ö‹ Û Öê‡Ô †×ŸÖ×¸ŒŸÖ Û ÖÝÖ•Ö Û Ö ˆ¯ÖµÖÖêÝÖ ®ÖÆà Û ¸®ÖÖ Æî …
3. ¯Ö¸ßõÖÖ ¯ÖÏÖ¸´³Ö ÆÖê®Öê ¯Ö¸, ¯ÖÏ¿®Ö-¯Öã×ÃŸÖÛ Ö †Ö¯ÖÛ Öê ¤ê ¤ß •ÖÖµÖêÝÖß … ¯ÖÆ»Öê
No Additional Sheets are to be used.
¯ÖÖÑ“Ö ×´Ö®Ö™ †Ö¯ÖÛ Öê ¯ÖÏ¿®Ö-¯Öã×ÃŸÖÛ Ö ÜÖÖê»Ö®Öê ŸÖ£ÖÖ ˆÃÖÛ ß ×®Ö´®Ö×»Ö×ÜÖŸÖ
3. At the commencement of examination, the question •ÖÖÑ“Ö Ûê ×»Ö‹ ×¤µÖê •ÖÖµÖëÝÖê, ×•ÖÃÖÛ ß •ÖÖÑ“Ö †Ö¯ÖÛ Öê †¾Ö¿µÖ Û ¸®Öß
booklet will be given to you. In the first 5 minutes, you
are requested to open the booklet and compulsorily Æî :
examine it as below : (i) ¯ÖÏ¿®Ö-¯Öã×ÃŸÖÛ Ö ÜÖÖê»Ö®Öê Ûê ×»Ö‹ ˆÃÖÛê Û ¾Ö¸ ¯Öê•Ö ¯Ö¸ »ÖÝÖß
(i) To have access to the Question Booklet, tear off the Û ÖÝÖ•Ö Û ß ÃÖß»Ö Û Öê ± Ö›Ì »Öë … ÜÖã»Öß Æã ‡Ô µÖÖ ×²Ö®ÖÖ Ã™ßÛ ¸-
paper seal on the edge of this cover page. Do not ÃÖß»Ö Û ß ¯Öã×ÃŸÖÛ Ö Ã¾ÖßÛ Ö¸ ®Ö Û ¸ë …
accept a booklet without sticker-seal and do not (ii) Û ¾Ö¸ ¯ÖéÂš ¯Ö¸ ”¯Öê ×®Ö¤ì ¿ÖÖ®ÖãÃÖÖ¸ ¯ÖÏ¿®Ö-¯Öã×ÃŸÖÛ Ö Ûê ¯ÖéÂš ŸÖ£ÖÖ
accept an open booklet. ¯ÖÏ¿®ÖÖë Û ß ÃÖÓÜµÖÖ Û Öê †“”ß ŸÖ¸Æ “ÖîÛ Û ¸ »Öë ×Û µÖê ¯Öæ¸ê Æï …
(ii) Tally the number of pages and number of questions ¤ÖêÂÖ¯ÖæÞÖÔ ¯Öã×ÃŸÖÛ Ö ×•Ö®Ö´Öë ¯ÖéÂš/¯ÖÏ¿®Ö Û ´Ö ÆÖë µÖÖ ¤ã ²ÖÖ¸Ö †Ö ÝÖµÖê
in the booklet with the information printed on the ÆÖë µÖÖ ÃÖß×¸µÖ»Ö ´Öë ®Ö ÆÖë †£ÖÖÔŸÖË ×Û ÃÖß ³Öß ¯ÖÏÛ Ö¸ Û ß ¡Öã×™¯ÖæÞÖÔ
cover page. Faulty booklets due to pages/questions ¯Öã×ÃŸÖÛ Ö Ã¾ÖßÛ Ö¸ ®Ö Û ¸ë ŸÖ£ÖÖ ˆÃÖß ÃÖ´ÖµÖ ˆÃÖê »ÖÖî™ ÖÛ ¸ ˆÃÖÛê
missing or duplicate or not in serial order or any
other discrepancy should be got replaced Ã£ÖÖ®Ö ¯Ö¸ ¤æ ÃÖ¸ß ÃÖÆß ¯ÖÏ¿®Ö-¯Öã×ÃŸÖÛ Ö »Öê »Öë … ‡ÃÖÛê ×»Ö‹ †Ö¯ÖÛ Öê
immediately by a correct booklet from the ¯ÖÖÑ“Ö ×´Ö®Ö™ ×¤µÖê •ÖÖµÖëÝÖê … ˆÃÖÛê ²ÖÖ¤ ®Ö ŸÖÖê †Ö¯ÖÛ ß ¯ÖÏ¿®Ö-
invigilator within the period of 5 minutes. ¯Öã×ÃŸÖÛ Ö ¾ÖÖ¯ÖÃÖ »Öß •ÖÖµÖêÝÖß †Öî¸ ®Ö Æß †Ö¯ÖÛ Öê †×ŸÖ×¸ŒŸÖ ÃÖ´ÖµÖ
Afterwards, neither the Question Booklet will be ×¤µÖÖ •ÖÖµÖêÝÖÖ …
replaced nor any extra time will be given. 4. †®¤¸ ×¤µÖê ÝÖµÖê ×®Ö¤ì ¿ÖÖë Û Öê ¬µÖÖ®Ö¯Öæ¾ÖÔÛ ¯ÖœÌë …
4. Read instructions given inside carefully. 5. ˆ¢Ö¸-¯Öã×ÃŸÖÛ Ö Ûê †®ŸÖ ´Öë Û ““ÖÖ Û Ö´Ö (Rough Work) Û ¸®Öê Ûê
5. One page is attached for Rough Work at the end of the ×»Ö‹ ´Öæ»µÖÖÓÛ ®Ö ¿Öß™ ÃÖê ¯ÖÆ»Öê ‹Û ¯ÖéÂš ×¤µÖÖ Æã †Ö Æî …
booklet before the Evaluation Sheet. 6. µÖ×¤ †Ö¯Ö ˆ¢Ö¸-¯Öã×ÃŸÖÛ Ö ¯Ö¸ ×®ÖµÖŸÖ Ã£ÖÖ®Ö Ûê †»ÖÖ¾ÖÖ †¯Ö®ÖÖ ®ÖÖ´Ö,
6. If you write your Name, Roll Number, Phone Number or ¸Öê»Ö ®Ö´²Ö¸, ± Öê®Ö ®Ö´²Ö¸ µÖÖ Û Öê‡Ô ³Öß ‹êÃÖÖ ×“ÖÅ®Ö ×•ÖÃÖÃÖê †Ö¯ÖÛ ß
put any mark on any part of the Answer Sheet, except ¯ÖÆ“ÖÖ®Ö ÆÖê ÃÖÛê , †Ó×Û ŸÖ Û ¸ŸÖê Æï †£Ö¾ÖÖ †³Ö¦ ³ÖÖÂÖÖ Û Ö ¯ÖÏµÖÖêÝÖ Û ¸ŸÖê
for the space allotted for the relevant entries, which may
disclose your identity, or use abusive language or employ Æï , µÖÖ Û Öê‡Ô †®µÖ †®Öã×“ÖŸÖ ÃÖÖ¬Ö®Ö Û Ö ¯ÖÏµÖÖêÝÖ Û ¸ŸÖê Æï , ŸÖÖê ¯Ö¸ßõÖÖ Ûê
any other unfair means, you will render yourself liable to ×»ÖµÖê †µÖÖêÝµÖ ‘ÖÖê×ÂÖŸÖ ×Û µÖê •ÖÖ ÃÖÛ ŸÖê Æï …
disqualification. 7. †Ö¯ÖÛ Öê ¯Ö¸ßõÖÖ ÃÖ´ÖÖ¯ŸÖ ÆÖê®Öê ¯Ö¸ ˆ¢Ö¸-¯Öã×ÃŸÖÛ Ö ×®Ö¸ßõÖÛ ´ÖÆÖê¤ µÖ Û Öê
7. You have to return the test booklet to the invigilators at »ÖÖî™ Ö®ÖÖ †Ö¾Ö¿µÖÛ Æî †Öî¸ ‡ÃÖê ¯Ö¸ßõÖÖ ÃÖ´ÖÖ×¯ŸÖ Ûê ²ÖÖ¤ †¯Ö®Öê ÃÖÖ£Ö
the end of the examination compulsorily and must not ¯Ö¸ßõÖÖ ³Ö¾Ö®Ö ÃÖê ²ÖÖÆ¸ ®Ö »ÖêÛ ¸ •ÖÖµÖë …
carry it with you outside the Examination Hall. 8. Ûê ¾Ö»Ö ®Öß»Öê/Û Ö»Öê ²ÖÖ»Ö ¯¾ÖÖ‡Õ™ ¯Öê®Ö Û Ö Æß ‡ÃŸÖê´ÖÖ»Ö Û ¸ë …
8. Use only Blue/Black Ball point pen. 9. ×Û ÃÖß ³Öß ¯ÖÏÛ Ö¸ Û Ö ÃÖÓÝÖÞÖÛ (Ûê »ÖÛã »Öê™ ¸) µÖÖ »ÖÖòÝÖ ™ê ²Ö»Ö †Ö×¤ Û Ö
9. Use of any calculator or log table etc., is prohibited. ¯ÖÏµÖÖêÝÖ ¾ÖÙ•ÖŸÖ Æî …
J-65-11 P.T.O.
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PERFORMING ARTS
PAPER–III
–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.
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SECTION – I
!–I
Note : This section consists of two essay type questions of twenty (20) marks each, to be
answered in about five hundred (500) words each. (2 × 20 = 40 marks)
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+ (2 × 20 = 40 $ )
1. What is the contribution in India of University Dance Departments w.r.t.

performance, creativity, scholarship and research in dance ?
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Hindi theatre has become a theatre of translations and instead of original Hindi plays
the translations rule the roost everywhere. Do you agree ? Why ?
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2. What is the status of your dance style in India today in terms of format, performance,
pedagogy and research ? Write with examples.
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Theatre should not mirror reality but should transcend the common place of everyday
life by deliberately exaggerating and distorting reality through stylized theatrical
techniques. Justify the statement in the context of the landmarks in the Experimental
theatre movement in the Western countries.
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SECTION – II
! – II
Note : This section contains three (3) questions from each of the electives/specializations.
The candidate has to choose only one elective/specialization and answer all the
three questions from it. Each question carries fifteen (15) marks and is to be
answered in about three hundred (300) words. (3 × 15 = 45 marks)
9=CD E; : F ' ( # 9=CD

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Elective – I
- ./ –I
DANCE
0'
3. What is essential and absolutely must to be an excellent dance performer ?
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4. What is research based choreography in Dance ? Describe at least two which you may
have watched / read or participated in.
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5. After an extensive classical dance training, would you want to do choreography in

films ? Support your answer with reasons.
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Elective – II
-. – II
DRAMA/THEATRE
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3. Discuss three-tired plot structure of Sanskrit Drama with suitable examples.
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4. How the major playwrights of your region have dramatized the mythological
narratives in the Post Independence Era ?
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5. Can theatre exist without dramatic text ? Justify the answer with proper examples.
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SECTION – III
! – III
Note : This section contains nine (9) questions of ten (10) marks, each to be answered in
about fifty (50) words. (9 × 10 = 90 marks)
Answer the questions according to your specialization.
2 , 2, 3 !" #$ $ # )%
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1 :F # : ( " ! " %1 .
DANCE
0'
6. Why is it important for dancer to study epics, puranas etc in detail ?
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7. As per Natyashastra, define N tya, Nritta, T ndava

. and M rgi.
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8. Describe any four Indian dance choreographic works which deal with women centric
(gender) issues.
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9. What is the aim and purpose of N tya according to Bharata ?
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10. List four Talas with their bols, used in your dance style. Write one Jathi / Tirmanam /
Toda in notation.
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1" JE @ #
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11. Define : Adavu, Bhangi, Kalasam, Tatkar, Pravesh Daru.

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12. What is the importance of Sangit-Ratnakar and Bhartarnava in the study of dance ?
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13. Which is the most popular classical Indian dance style ?

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14. Describe : Noh, Wayang Wong, Khon, Kandyan dance.
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DRAMA / THEATRE
1
6. How the ancient concepts of Vritti, Pravritti and Dharmi are associated with
Abhinaya ?
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7. Why the plays of Bertolt Brecht can easily be adapted for the Indian Theatre ? Justify
on the basis of various adaptations of Brechtian plays in your language or in the
modern theatre of your region.
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8. ‘While directing the play the director goes beyond the text.’ Justify with ref. to the
process of play production.
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9. The actor should evolve his own method after studying various schools of acting. Do
you agree ? Why ?
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10. A significant pioneering effort for distinctively Indian theatrical expression was made
by Rabindranath Tagore early in the century. Justify.
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11. Write a short note on the role of IPTA in the development of modern Indian theatre.
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12. Discuss the use of mask in Indian Traditional Theatre.

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13. It is very necessary to introduce theatre into the educational mainstream for
generating greater interest and awareness for the theatre, to improve tests and
standards, to create not only future performers and technicians but also serious
audiences. Elaborate your views.
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14. What should be the role of State Academies and Central Sangeet Natak Academy in
promotion of experimental theatre movement ?
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SECTION – IV
! – IV
Note : This section contains five (5) questions of five (5) marks each based on the following
passage. Each question should be answered in about thirty (30) words. Answer the
questions according to your specilization. (5 × 5 = 25 marks)
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DANCE
0'
The miming aspect of natya termed angikabhinaya in the Natyasastra is also an
integral part of dancing; the principles which govern the technique of angikabhinaya
in natya also govern the technique of nritya or what is termed as just abhinaya in
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dancing. The dancer employs the body and its limbs for expression; the
vachikabhinaya of natya where the actors themselves use speech, is replaced by the
music which accompanies the dance. In the nritta portion, the musical accompaniment
utilizes melody in a given tala (metrical cycle) and the improvisations on the basic
tala are interpreted through movement. In the abhinaya portion the musical
accompaniment mostly consists of poetry, lyrical or narrative, set to music and
rhythm. It is this poetry which is interpreted by the dancer; the interpretation
(specially in the solo dancing of all the classical styles) comprises a portrayal of the
various samchari bhavas of the particular sthayi bhava. This is achieved through a
series of variations of the angikabhinaya, each word of the poetry being interpreted in
as many different way as possible. The principal of natyadharmi, tells us that, if the
same actor assumes a different role (in the same play) then it is natyadharmi.
(Dr. Kapila Vatsyayan)
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15. What is the Vachika Abhinaya for dance ?

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16. How is poetry interpreted by a dancer ?

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17. What is Natyadharmi according to Bharata ?

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18. What is an integral part of dancing ?

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19. What is special for a solo classical dancer ?

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OR / $% &
DRAMA / THEATRE
1
Theatre Criticism
Theatre criticism in the modern sense is a comparatively new phenomenon in
India and significant critical writing on theatre is still very meagre. One of the reasons
for such a situation is the very uneven development of theatre in different regions of
India, as also the absence of a regular or sustained theatre activity, except in one or
two out of more than 15 major languages of the country. But more than anything else,
it is the extreme diversity of the theatrical forms prevalent in India which makes
theatre criticisms here so unsure and complicated. The contemporary Indian theatre
scene has at least four major streams : (1) the Western style including the
Shakespearean, realistic, Absurdist, Brechtian and the generally non-representational
performances of plays original as well as translations or adaptations from the Western
dramatists ; (2) the modern performances based on the non-classical indigenous
theatre forms ; (3) the contemporary presentations of the classical Sanskrit plays in
the original or in any of the modern Indian languages; (4) presentations of the various
traditional theatre forms in different regions. Each one of these theatre streams needs
a different kind of critical approach. But it is the productions of the modern or
classical plays written and staged with components from the Indian theatrical tradition
that the theatre criticism is really at sea. This is mainly a development of the last two
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decades but encompasses some of the most exciting theatrical work in the country
including that of directors like B.V. Karnath, Kavalam Narayan Panikkar, Habib
Tanvir, Ratan Thiyam and many others.
Nemichandra Jain (1988)
1
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15. Why critical writing on theatre is very meagre ?

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16. Which is the main reason for such situation ?

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17. Which are major streams prevalent in the contemporary Indian theatre scene ?
Mention in brief.
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18. Which stream poses serious problems in theatre criticism ?

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19. Which are the most significant productions of each director mentioned in the above
paragraph ?
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Space For Rough Work
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FOR OFFICE USE ONLY
Marks Obtained
Question Marks
Number Obtained
1
2
3
4
5
6
7
8
9
10
11
12
13
14
15
16
17
18
19
Total Marks Obtained (in words) ...........................................

(in figures) ..........................................
Signature & Name of the Coordinator ...................................
(Evaluation) Date .........................
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2011 June - P 3

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PAPER-III

Time : 2 1/2 hours] [Maximum Marks : 200

" –" )* !" #$ $ # )%

1. What is the contribution in India of University Dance Departments w.r.t.

9=CD E; : F ' ( # 9=CD

5. After an extensive classical dance training, would you want to do choreography in

7. As per Natyashastra, define N tya, Nritta, T ndava

11. Define : Adavu, Bhangi, Kalasam, Tatkar, Pravesh Daru.

13. Which is the most popular classical Indian dance style ?

12. Discuss the use of mask in Indian Traditional Theatre.

15. What is the Vachika Abhinaya for dance ?

16. How is poetry interpreted by a dancer ?

17. What is Natyadharmi according to Bharata ?

18. What is an integral part of dancing ?

19. What is special for a solo classical dancer ?

Nemichandra Jain (1988)

15. Why critical writing on theatre is very meagre ?

16. Which is the main reason for such situation ?

18. Which stream poses serious problems in theatre criticism ?

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

(Evaluation) Date .........................

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