UNIVERSITY GRANTS COMMISSION NET BUREAU Code No. : 65 Subject : PERFORMING ARTS—DANCE, DRAMA, THEATRE SYLLABUS AND SAMPLE QUESTIONS Note : There will be two question papers, Paper-II and Paper-Ill (Part-A & B). Paper-II will cover 50 Objective Type Questions (Multiple choice, Matching Type, True/False, Assertion-Reasoning type) carrying 100 marks. Paper-Ill will. have two Parts-A and B; Paper-Ill (A) will have 10 short essay type questions (300 words) carrying 16 marks each. In it there will be one question with internal choice from each unit (i.e., 10 questions from 10 units; Total marks will be 160). Paper-Ill (B) will be compulsory and there will be one question from each of the Electives. The candidate will attempt only one question (one elective only in 800 words) carrying 40 marks. Total marks of Paper-III will be 200. COMMON SYLLABUS FOR DANCE AND DRAMA/THEATRE BOTH FOR PAPER-II AND PAPER-III PAPER-II and PAPER-III (A) [ CORE GROUP | Unit—1 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 65 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—I Ancient Practice of Natya The four ‘abhinayas’; four ‘vrittis’, four ‘pravrittis’ and two ‘dharmis’ : A study of the ‘nritta karanas’ 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_-—sNatyadarpana of Ramachandra-Gunachandra. Unit—VI Tradition of Indian Music General Knowledge of Indian Classical Music—Hindustani and Carnatic and their ‘tala’ patterns. Unit—viIL 65 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—VaI 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—1x 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.65 PAPER-III (B) [ ELECTIVE/OPTIONAL } DANCE This Section ‘will consist of four questions which are all compulsory and without internal options. The division of marks and maximum number of words for each question will be as follows : Question 1 Not more than 700 words 40 marks Question 2 Not more than 200 words 20 marks Question 3 Not more than 200 words 20 marks Question 4 Not more than 200 words 20 marks 1300 words 100 marks 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, ie., 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65 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/THEATRE This section will consist of four-questions which are all compulsory and without internal options. The division of marks and maximum number of words for each question will be as follows : Question 1 Not more than 700 words 40 marks Question 2 Not more than 200 words 20 marks Question 3 Not more than 200 words 20 marks Question 4 Not more than 200 words 20 marks 1300 words 100 marks 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.This paper contains questions from three sections. Twenty five (25) from each section. The Section (1) is common for both Dance and Drama/Theatre. The Section (2) is only for Dance and Section (3) is only for Drama/Theatre. Total Marks is 200. SAMPLE QUESTIONS PAPER-II SECTION 1 : COMMON FOR DANCE AND DRAMA/THEATRE Linked Items : Read the following passage and tick the correct answer of the questions. A comparative study of the two Sanskrit texts Natyashastra and Abhinayadarpana was undertaken in terms of the contemporary dance practices in the terms of usage of the four-prescribed abhinaya, viz., angika, vachika, aharya and sattvika. 1. It was found that (A) natyashastra dealt with the first three abhinayas (B) both the texts deal with all the four abhinayas (C) abhinayadarpana deals with only the first-abhinaya (D) both the texts give the classification of anga, upanga and pratyanga 2. It was found that (A) both the texts are used in Kathakali (B) both the texts are used in Manipuri (C) both the texts are used in Mohini Attam (D) both the texts are used in Kuchipudi SECTION 2 : DANCE 3. Minukku in Kathakali is (A) Stri vesham (By Tadi vesham (C) Hanumana (D) Demoness4. The term ‘Chauka’ is used for (A) Squarish position (B) Basic foot position (C) Geometrical Dance pattern (D) The knees outwards position SECTION 3 : DRAMA/THEATRE 5. The author of ‘Mricchakatika’ is (A) Shudraka (8) Bhasa (C) Vishakhadatta (D) Harsha 6. ‘An Actor Prepares’ is the famous work of (A) Bertolt Brecht (B) Grotowski (C) Peter Brook (D) Stanislavsky PAPER-III (A) COMMON FOR DANCE AND DRAMA / THEATRE 1, Explain the term ‘Culture’ and ‘Civilization’ emphasising their relevance to India. Or Discuss in detail Krishna's role in the epic Mahabharata.PAPER-III (B) DANCE 11. Trace the history of dance from the ancient to modern times, from the data available from sculpture, literature and music. Or ‘East meets West in Uday Shankar's dance creations.’ Give your comments. DRAMA/THEATRE 12. Trace the history of Experimental Theatre from Stanislavsky to Grotowski. 65 Or ‘Shombhu Mitra evolved the production style for Tagore’s Plays. 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