Test Booklet No.: Paper-Ii Performing Art

Signature and Name of Invigilator
OMR Sheet No. : .........................................

(To be filled by the Candidate)
1. (Signature) __________________________
(Name) ____________________________
2. (Signature) __________________________
(Name) ____________________________
65
Roll No.____________________________
(In words)
PAPER-II
PERFORMING ART
Number of Pages in this Booklet : 24
Instructions for the Candidates

1. Write your roll number in the space provided on the top of
this page.
2. This paper consists of fifty multiple-choice type of questions.
3. At the commencement of examination, the question booklet
will be given to you. In the first 5 minutes, you are requested
to open the booklet and compulsorily examine it as below :
(i) To have access to the Question Booklet, tear off the paper
seal on the edge of this cover page. Do not accept a booklet
without sticker-seal and do not accept an open booklet.
(ii) Tally the number of pages and number of questions in
the booklet with the information printed on the cover
page. Faulty booklets due to pages/questions missing
or duplicate or not in serial order or any other
discrepancy should be got replaced immediately by a
correct booklet from the invigilator within the period
of 5 minutes. Afterwards, neither the Question Booklet
will be replaced nor any extra time will be given.
(iii) After this verification is over, the Test Booklet Number
should be entered in the OMR Sheet and the OMR Sheet
Number should be entered on this Test Booklet.
4. Each item has four alternative responses marked (A), (B), (C)
and (D). You have to darken the oval as indicated below on the
correct response against each item.
B
C
A
Example :
D
where (C) is the correct response.
5. Your responses to the items are to be indicated in the Answer
Sheet given inside the Paper I Booklet only. If you mark at
any place other than in the ovals in the Answer Sheet, it will
not be evaluated.
6. Read instructions given inside carefully.
7. Rough Work is to be done in the end of this booklet.
8. If you write your name or put any mark on any part of the test
booklet, except for the space allotted for the relevant entries,
which may disclose your identity, you will render yourself
liable to disqualification.
9. You have to return the test question booklet and OMR Answer
sheet to the invigilators at the end of the examination
compulsorily and must not carry it with you outside the
Examination Hall.
10. Use only Blue/Black Ball point pen.
11. Use of any calculator or log table etc., is prohibited.
12. There is no negative marks for incorrect answers.
D-0109
J-65-10
(In figures as per admission card)
Test Booklet No.
1 0
Time : 1 1/4 hours]
Roll No.
[Maximum Marks : 100
Number of Questions in this Booklet : 50
1.
2. -
3. , -
-
:
(i) -
-

(ii) -

/

-
-

(iii) - OMR
OMR -

4. (A), (B), (C) (D)

C
B
A
D
:
(C)
5. I -

,
6.
7. (Rough Work)
8. -
,

9. - OMR -

10. /
11. ()

12.
1
P.T.O.
DANCE / DRAMA / THEATRE

Paper II
SPECIAL INSTRUCTIONS
1.
2.
Candidates are required to answer all the 25 questions in Part-I, which are
compulsory. They should also select any one from Part-II and Part-III and
answer all the 25 questions of that Part only. Each question carries two
marks.
Candidates are required to mark clearly on the OMR Answer Sheet, the
Part Number which they have selected.
PART I
Common to Dance / Drama / Theatre
1.
Match List I with List II :

List I
List II
(a) narthaki.com (i) Akanth
Sabarmati
(b) kutcheri.buzz (ii) dance website
(c) Satyadev
(iii) music dance
Dubey
website
(d) Madhu Rye (iv) Andha Yug
Code :
(a) (b) (c) (d)
(A) (ii) (i) (iv) (iii)
(B) (ii) (iii) (iv) (i)
(C) (i) (iii) (ii) (iv)
(D) (iii) (iv) (i) (ii)
2.
The most important thing for an

actor or dancer to become better is
(A) to learn the computer
(B) to speak local language
(C) to practice long and hard
(D) to study the traditional texts
3.

List I
List II
(a) Suresh Avasti (i) Indian
Theatre
(b) Padma
(ii) Asides
Subramaniam
(c) Adya
(iii) Performance
Rengacharya
Tradition in
India
(d) N.C. Jain
(iv) The Karanas,
Sculptures
Code :
(a) (b) (c) (d)
(A) (iv) (iii) (ii) (i)
(B) (i) (ii) (iii) (iv)
(C) (iii) (iv) (i) (ii)
(D) (ii) (i) (iv) (iii)
Paper-II
4.
Mattavarani is
(A) component of theatre
(B) component of dramatic plot
(C) aspect of Tan ava
(D) aspect of Sthayibhava
5.
List I
List II
(a) Prof. Sushil
(i) Aesthetics
Kumar Saxena
(b) Nadira Babbar (ii) Choreographer
(c) M.S. Sathyu (iii) Director
(d) Kumudini
(iv) Setting
Lakhia
Code :
(a) (b) (c) (d)
(A) (ii) (i) (iv) (iii)
(B) (i) (ii) (iv) (iii)
(C) (i) (iii) (iv) (ii)
(D) (iii) (ii) (i) (iv)
6.
List I
List II
(a) Udaya Shankar (i) Bharath
Natyam
(b) Tughlaque
(ii) Surya Ki
Antim Kiran
Se Suryaki
Pehali Kiran
Tak
(c) Surender Verma (iii) Alkazi
(d) Kittappa Pillai
(iv) Kalpana
Code :
(a) (b) (c) (d)
(A) (ii) (i) (iv) (iii)
(B) (iii) (iv) (i) (ii)
(C) (iv) (iii) (ii) (i)
(D) (i) (ii) (iii) (iv)
2
J-6510
/
/
II

1.
-I
25
-II
-III

25

OMR

2.
I
1.
2.
3.
/
/

4.
7 ?
I
II

(A)

:
(B)

I
II
(a)
.
(i)

(C) 7

(b)
.
(ii)
(D)

(c)
(iii)
5.
I II
:
I
II
(d)
(iv)
:
(a) .
(i)
(a) (b) (c) (d)
(A) (ii) (i) (iv) (iii)

(b)
(ii)
(B) (ii) (iii) (iv) (i)
(c) ..
(iii)
(C) (i) (iii) (ii) (iv)

(d)
8 (iv)
(D) (iii) (iv) (i) (ii)
:
(a) (b) (c) (d)
(A) (ii) (i) (iv) (iii)

7

?
(B) (i) (ii) (iv) (iii)
(A)
8
(C) (i) (iii) (iv) (ii)
(B)
(D) (iii) (ii) (i) (iv)
(C)

6.
I II

:
(D)

I
II
(a)
(i)
I II

:
I
II
(b)
(ii)

(a)
(i)
(b) (ii)

7
(c)
(iii)
(c)
(iii)
(d)

(iv)
(d) ..
(iv)
7,
:
(A)
(B)
(C)
(D)
J-6510
(a) (b) (c) (d)

(iv) (iii) (ii) (i)
(i) (ii) (iii) (iv)
(iii) (iv) (i) (ii)
(ii) (i) (iv) (iii)
(A)
(B)
(C)
(D)
3
(a) (b) (c) (d)

(ii) (i) (iv) (iii)
(iii) (iv) (i) (ii)
(iv) (iii) (ii) (i)
(i) (ii) (iii) (iv)
Paper-II
7.
8.
9.
10.
11.
Match items in List I with List II :

List I
List II
(a) West
(i) Kathputli
Bengal
(b) Andhra
(ii) Todde GombePradesh
Atta
(c) Rajasthan
(iii) Tolu
Bommalatta
(d) Karnataka
(iv) Putul-natch
Code :
(a) (b) (c) (d)
(A) (iii) (i) (ii) (iv)
(B) (i) (ii) (iv) (iii)
(C) (ii) (i) (iii) (iv)
(D) (iv) (iii) (i) (ii)
Reason (R) : Rasa is a pleasure

which has no relationship with
any real individual.
(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.

12.
Assertion (A) : Notions of time and

space determine the practice and
conventions of all the arts.
Reason (R) : All the traditional
performing arts are ritual and
season oriented.
Select the correct sequence :

(A) Sharad, Varsha, Vasant, Grishma.
(B) Grishma, Vasant, Sharad, Varsha.
(C) Vasant, Grishma, Varsha, Sharad.
(D) Vasant, Grishma, Sharad, Varsha.
(A) (A) is true, (R) is true.
Pick the odd one out.

The dance-dramas written by Poet
Ravindranath Tagore are
(A) Tasher Desh (B) Adhe Adhure
(C) Chandalika (D) Dak Ghar
(B)
(A) is false, (R) is false.
(C)
(D) (A) is false, (R) is true.

13.
Assertion (A) : Actors hide their

faces behind masks.
Reason (R) : Chau and Balinese
masks speak a lot.

List I
List II
(a) World Theatre (i) 29th April
Day
(b) World Dance (ii) 6th June
Day
(c) Womens Day (iii) 27th March
(d) World
(iv) 8th March
Environment
Day
Code :
(a) (b) (c) (d)
(A) (ii) (iv) (i) (iii)
(B) (iii) (i) (iv) (ii)
(C) (iv) (ii) (iii) (i)
(D) (i) (iii) (ii) (iv)
Paper-II
Assertion (A) : Rasa arises out of

Tanmayat, the self identification
with aesthetic object.
(A) (A) is true, (R) is false.

(B)
(A) and (R) are false.
(C)
(A) and (R) are true.

14.
Assertion (A) : The stage lighting is

one of the major aspects of a
theatrical production.
Reason (R) : Normally the back
curtain is very dark.
(A) (A) and (R) both are false.
(B)
(A) and (R) both are true.
(C)
(A) is false, (R) is true.
(D) (A) is true, (R) is false.

4
J-6510
7.
I II

:
I
II
(a) (i)
(b)
(ii) -
(c)
(iii)
(d)
(iv)
:
(A)
(B)
(C)
(D)
(a) (b)
(iii) (i)
(i) (ii)
(ii) (i)
(iv) (iii)
(c) (d)
(ii) (iv)
(iv) (iii)
(iii) (iv)
(i) (ii)
8.

:
(A) , , ,
(B) , , ,
(C) , , ,
(D) , , ,
9.

8

(A)
(B)
(C) 7
(D)
10.
:
I
(a)
(b)
(c)
(d)
7
:
(A)
(B)
(C)
(D)
J-6510
II
11.
(A) : ,
2 (R)
:

(A) (A) (R)
(B) (A) (R)
(C) (R) (A)
(D) (A) (R)
12.
(A) :

2 (R)
:

8
(A) (A) (R)
(B) (A) (R)
(C) (A) (R)
(D) (A) (R)
13.
(A) : 7
2 (R)
: 8

(A) (A) (R)
(B) (A) (R)
(C) (A) (R)
(D) (A) (R)
14.
(A) :
-

8
2 (R)
: :

(A) (A) (R)
(B) (A) (R)
(C) (A) (R)
(D) (A) (R)
II
(i) 29
(ii) 6
(iii) 27
(iv) 8
(a) (b) (c) (d)

(ii) (iv) (i) (iii)
(iii) (i) (iv) (ii)
(iv) (ii) (iii) (i)
(i) (iii) (ii) (iv)
5
Paper-II
15.
Assertion (A) : Paper is very costly

and not easily available in Orissa.
Reason (R) : A lot of paper is
used for making Chhau masks.
(A) (A) is false, (R) is true.
(B) (A) is true, (R) is false.
(C) (A) and (R) are false.
(D) (A) and (R) are true.
16.
Which is the wrong pair ?

(A) Bhandarkar
Research
Oriental
Institution
(B) Sangit Natak Granting
Akademi
Body
(C) University
Fellowship
Grants
Commission
(D) Ford
Philanthropic
Foundation
body
17.
18.
19.
Pick the odd pair out.

(A) Mallika
Sarabhai
(B) Girish
Karnad
(C) Protima
Bedi
(D) Shyamanand
Jalan
(A) Kovalan Panikar
(B) Jeevan Pani
(C) Ratan Thaiyam
(D) Veenapani
Chawla
Sitas daughter
Identify the correct sequence :

(A) Shankuka, Abhinava Gupta,
Sharada Tanaya, Pundarika
Vitthala.
(B) Abhinava Gupta, Shankuka,
Sharada Tanaya, Pundarika
Vitthala.
(C) Shankuka, Abhinava Gupta,
Pundarika Vitthala, Sharada
Tanaya.
(D) Abhinava Gupta, Sharada
Tanaya, Shankuka, Pundarika
Vitthala.
21.
Krishna is
(A) Smnya
(C) Shatha
The highest award awarded to a

performing artist in India, is
(A) The Nobel Prize
(B) Bharatratna
(C) SNA Fellowship
(D) Padmavibhushana
23.
The chair persons of Central Sangit

Natak Akademi were
(A) Ram Niwas Mirdha
(B) Sonal Mansinh
(C) Narayan Menon
(D) All of the above
24.
Whose brain child is the dance

annual Attendance ?
(A) Mohan Khokar
(B) Ashish Khokar
(C) Anita Ratnam
(D) Ratan Thaiyam
25.
Assertion (A) : It is essential for

Dancers and Actors to learn
Vachika and Angika Abhinaya.
Reason (R) : They can project
themselves with better make-up.
Codes :
(A) Both (A) and (R) are true.
(B) (A) is true, (R) is false.
(C) Both (A) and (R) are false.
Modern Dance
Evam Indrajit
Sopanam
Puppet
Drama
Adishakti
(B) Dhiroddhata
(D) Dheer-lalit
22.
Hayvadana
The funding in the area of culture in

India is given by
(A) India Arts Foundation
(B) Nehru Foundation
(C) Fulbright Foundation
Paper-II
20.
J-6510
15.
(A) :

2 (R)
: 8
7

(A) (A) (R)
(B) (A) (R)
(C) (A) (R)
(D) (A) (R)
16.
?
(A)
(B)
(C)

(D)
17.
18.
19.

:
(A)
(B)
(C)
(D)
21.
22.

:
(A)

(B) 7
(C)
(D) 77
20.
23.
24.
25.

-7

?
(A) 7 7
(B) 7
(C) 7
(D)
J-6510

(A)
, , ,

(B) ,
, ,

(C)
, ,
,
(D) , ,
7 _______
(A)
(B)
(C)
(D)

(A)
(B)
(C) . . .
(D) 7
-

?
(A)
(B)
(C) 7
(D)

?
(A) 8
(B) 8
(C) (D)
(A) :

8
2 (R)
:

:
(A) (A) (R)
(B) (A) (R)
(C) (A) (R)
(D) (A) (R)
Paper-II
Part II
DANCE
26.
30.
(A) Bharata
Natyashastra
(A) The Surya Festival
(B) Sarangadeva
Sangita
Ratnakar
(B)
One Billion Eyes
(C)
The (Park) New Festival
(C) Mohan
Khokar
Dance of India
(D) Matanga
Bruhatdesi
(D) The Swarnim Festival
31.
27.

(A) Tatkar
Ghungaroo
(B) Lasyanga
Bharatr ava
(C) Purvaranga
Odissi
32.
(C)
Alwin Nikolai
Smt. Balasaraswati
(C)
Rani Karna

List I
(A) Chandralekha
Merce-Cunningham
(B)
(D) Sumyukta Panigrahi
The post modern Choreographer

who died last year is
(B)
For Indian Classical dance Queen

of Abhinaya is
(A) Smt. Kalanidhi Narayan
(D) Natuvangam Talam
28.
The Other Festival is now known as
(D) Martha Graham
List II
(a) Vadi
(i)
Uparupaka
(b) Sankirna
(ii) Swara
(c) Dhrutam
(iii) Jti
(d) Charchari
(iv) Symbol
Code :
29.
The government agency, connected

to dance education is
(a)
(b)
(c)
(d)
(A) SNA
(A) (ii)
(iii) (iv)
(i)
(B)
UGC
(B) (iii)
(ii) (iv)
(i)
(C)
IGNCA
(C)
(i)
(iv) (ii)
(iii)
(D)
(i)
(ii) (iii) (iv)
(D) ICCR
Paper-II
J-6510
II
26.
27.
28.
30.
(A)
(A)
(B)
(B)
(C)
(C)
(
)
(D)
(D)
31.

:
(A)
(B)
(C)
(D)

(A)
(B)
(C)
(D)
7

,

(A)
(B)
(C)
(D)
32.
I
II
:
I
II
(a)
(i)
(b)
(ii)
(c)
(iii)
(d)
(iv)
:
29.
(a)
(b)
(c)
(d)
(A)
(A) (ii)
(iii) (iv)
(i)
(B)
(B) (iii)
(ii) (iv)
(i)
(C)
(C)
(i)
(iv) (ii)
(iii)
(D)
(D)
(i)
(ii) (iii) (iv)
J-6510
Paper-II
33.

List I
35.
List II
(a) Kalaghoda
Festival
(i)
(b) Kalakshetra
(ii) Bhopal
(c) Kabir Festival
(iii) New Delhi
Reason (R) : It is written by

practising
Indian
Classical
Musician.
Chennai
(d) Ananya Festival (iv) Mumbai

Code :
34.
(a)
(b)
(c)
(d)
(A) (ii)
(iii)
(i)
(iv)
(B) (iii)
(i)
(iv)
(ii)
(C) (iv)
(i)
(ii)
(iii)
(D)
(ii) (iv) (iii)
(i)
36.
(i) Acharya
(b) Leela
Sampson
(ii) Padmabhushan
(c) Rajendra
Gangani
(iii) Scholar
(d) Margi Sati
(iv) Director
(d)
(A) (ii)
(iv) (iii)
(i)
(B) (ii)
(iv)
(i)
(iii)
(C) (iv) (iii)
(i)
(ii)
(D) (iv)
(ii)
(iii)
(i)
(A) and (R) both are true
Assertion (A) : Youngsters today

learn more than one form of
classical dance.
(B)
(C)
(A) and (R) both are false.
(D) (A) is false, but (R) is true.
37.
(c)
Paper-II
(b)
(C)
(A) (A) is true, but (R) is false.
Code :
(a)
(R) is false, (A) is true.
Reason (R) : It is appreciated in

the reality dance shows on the
TV.
List II
(a) Mallika
Sarabhai
(B)
(D) (A) and (R) both are false.

List I
Assertion (A) : NS is a text written

on Dramatic Criticism.
10
Identify the correct sequence :

(A) Satvika,
Aharya.
Angika,
Vachika,
(B)
Satvika,
Aharya.
Vachika,
Angika,
(C)
Angika,
Satvika.
Vachika,
Aharya,
(D) Angika,
Aharya.
Vachika,
Satvika,
J-6510
33.
I
II
:
35.
II
(A) : . .

2 (R)
(i)
(b)
(ii)
(c)
(iii)
(A) (A) , (R)
(d)
(iv)
(B)
(R) , (A)
(C)
(A) (R)
(a)
(b)
(c)
(d)
(A) (ii)
(iii)
(i)
(iv)
(B) (iii)
(i)
(iv)
(ii)
(C) (iv)
(i)
(ii)
(iii)
(D)
(ii) (iv) (iii)
(i)
(D) (A) (R)
36.
(A)
II
(a)
(i)
(b)
(ii)
(c)
7
(iii)
(d)
(iv)
(d)
(A) (ii)
(iv) (iii)
(i)
(B) (ii)
(iv)
(i)
(iii)
(C) (iv) (iii)
(i)
(ii)
(D) (iv)
(ii)
(iii)
J-6510
(i)
(B)
(A) (R)
(C)
(A) (R)
(D) (A) (R)
37.
(c)
: ..

(A) (A) , (R)
:
(b)
I
II
:
I
-
8
2 (R)
(a)

34.
(a)
11

?
(A)
,
,
,
(B)
,
,
,
(C)

,
, ,
(D)

,
,
,
Paper-II
38.
41.
Identify the correct sequence.

(A) Bhava, Anubhava, Vibhava,
Vyabhichari.
(A) Manipuri
(B)
Bhava, Vibhava, Anubhava,

Vyabhichari.
(B)
Kathak
(C)
Bhava, Vyabhichari, Vibhava,

Anubhava.
(C)
Orissi
(D) Mohiniattam
(D) Vibhava, Anubhava, Bhava,

Vyabhichari.
39.
Nitya Raas is performed in
Assertion (A) : Vedic Hymns are the

earliest examples of Sacred
Music in India.
42.
Miniature paintings are popular for

depicting
Reason (R) : Gita Govinda is an

important piece of Sacred music
in India.
(A) Angahaars
(B)
Raga Rginis
(C)
Poetry

(B)
(R) is true, (A) is false
(C)
Both (A) & (R) are true.
(D) Tla
(D) Both (A) and (R) are false.
40.

List I
43.
(a) Mrga
(i) Opera
(b) Rmantakam
(ii) Sthnaka
(c) Tribhangi
(iii) Desi
(d) Avalokita
(iv) Drish i
Kuravanji
lighter form of dance.

Reason (R)
: Kuravanji is set to
both classical music and dance.

(A) Both (A) & (R) are false.
(a)
(b)
(c)
(A) (ii)
(i)
(iii) (iv)
(B)
(iii) (ii)
(iv)
(C) (iii)
(i)
(ii)
(iv)
(D) (iii)
(i)
(iv)
(ii)
Paper-II
In
Natakam, Kuratti performs a
Code :
(i)
Assertion (A) :
List II
(d)
(B)
(C)
(R) is true, (A) is false.
(D) Both (A) and (R) are true.

12
J-6510
38.
39.
41.
(A)
, , ,
(B)
, , ,
(C)
, , ,
(D)
, , ,
(A)
(B)
(C)
(D)
(A) :

7
2 (R)
:

7
42.
(A) (A) , (R)

(B)
(R) , (A)
(C)
(A) (R)
(D) (A) (R)
40.
, 8
7

?
(A)
(B)
-
(C)
(D)
I
II

:
I
II
(a)
(i)
(b)
(ii)
(c)
(iii)
(d)
(iv)
43.
2 (R)
:

:
(a)
(b)
(c)
(A) (ii)
(i)
(iii) (iv)
(B)
(iii) (ii)
(iv)
(C) (iii)
(i)
(ii)
(iv)
(D) (iii)
(i)
(iv)
(ii)
J-6510
(i)
(A) :

(A) (A) (R)
(d)
(B)
(A) , (R)
(C)
(R) , (A)
(D) (A) (R)

13
Paper-II
44.
Mohiniattam is a style of
47.
(A) Bhrati vritti
(A) Kalkshetra, Kalamandalam,

Kathak Kendra, Shanti Niketan
(B)
Kaisiki Vritti
(C)
Sttvati Vritti
(D) rabha i Vritti
45.
Author of Daaroopaka
Dhananjaya
(C)
Ahobala
(B)
Kalmandalam, Shantiniketan,
Kalakshetra, Kathak Kendra.
(C)
Shanti Niketan, Kalakshetra,

Kalamandalam,
Kathak
Kendra.
(D) Kalmandalam, Kalkshetra,

Shnti
Niketan,
Kathak
Kendra.
(A) Nandikewara
(B)
Sequence correctly.
48.
(D) Sharadatanaya
Musical form(s) adopted in classical

dance
(A) Thumri
46.

List I
(a) Kapila
Vatsyayan
List II
Tarangam
(C)
Pada Varnam
(i) Drums
(b) Pung Cholam (ii) Natya

Shastra
(c) Kutup
(B)
49.
Chajja is a folk dance of

(A) Rajasthan
(iii) Abhinaya
Darpana
(B)
Bihar
(d) Nandikewara (iv) Scholar
(C)
Himachal Pradesh
Code :
(D) Jammu
(a)
(b)
(c)
(d)
(ii) (iii)
(i)
50.
(A) (iv)
Chandas correspond to
(A) Poetic matra
(B) (iv) (iii) (ii)
(i)
(C) (iii)
(ii)
(i)
(iv)
(D) (iv)
(i)
(ii)
(iii)
Paper-II
(B)
Verses
(C)
Tla
(D) varta
14
J-6510
44.
45.
46.

(A)
(B)
(C)
(D)
47.

8

?

8 :
(A)
,
,
(B)
,
,
,
(C)

,
,
,
(D)
,
,
,
(A)
(B)
(C)

/

?
(D)
(A)
(B)
(C)
(D)
48.
I
II
:
I
II
(i)
(b)
(ii)
(c)
(d)
(a)
()
49.
(A)
(iii) 7
(B)
(iv)
(C)
(D)
:
(a)
(b)
(c)
(d)
50.
(A) (iv)
(ii) (iii)
(i)
(B) (iv) (iii) (ii)
(i)
(C) (iii)
(ii)
(i)
(D) (iv)
(i)
(ii)
J-6510

(A)
(B)
(iv)
(C)
(iii)
(D)
15
Paper-II
Part III
DRAMA/THEATRE
26.
Match the List I with List II :

List I
29.
List II
The correct order of the Karyavastha

is
(a) Tamasha
(i) Kerala
(A) Yatna, rambha, Niyatpti,

Prpty , Phalgama.
(b) Nautanki
(ii) Uttar Pradesh
(B)
rambha,
Niyatpti,
Phalagama, Prpty , Yatna.
(C)
rambha, Yatna, Prpty ,

Niyatpti, Phalgama.
(c) Bhagavatmela (iii) Maharashtra

(d) Kudiyattam
(iv) Tamil Nadu
Code :
(a)
27.
28.
(b)
(c)
(d)
(A) (iii)
(ii) (iv)
(i)
(B) (iv)
(i)
(ii)
(iii)
(C) (ii)
(iii) (iv)
(i)
(D)
(ii) (iii) (iv)
(D) Phalgam, Yatna, Prpty ,

rambha, Niyatpti.
30.

List I
List II
(a) Italy
(i) Peking Opera
(b) England
(ii) Globe Theatre
(c) China
(iii) Nh
Assertion (A) : An actor must have

the knowledge of pitch and
rhythm to be a good performer.
(d) Japan
(iv) Commedia dellarte
(a)
(b)
(c)
(d)
Reason (R) : Because he/she must

have a sense of understanding
audience.
(A) (iii)
(i)
(iv)
(ii)
(B) (iv)
(i)
(ii)
(iii)
(C) (ii)
(iii) (iv)
(i)
(D) (iv)
(ii)
(iii)
(i)
(B)
(A) is true, (R) is true.
(C)
Code :
31.
(i)
Assertion (A) : Theatre cannot exist

without written text.
(D) (A) is false, (R) is false.
Reason (R) : Commedia dellarte

is the best example of Theatre of
improvisation.
Which theatre has the multiple

stages ?

(B)
(A) Kabuki
(B)
(C)
(A) is false, (R) is false.
(C)
(D) Roman
Paper-II
Globe
Greek
(D) (A) is true, (R) is true.

16
J-6510
III
/
26.
I
II

I
29.

?
(A) , , , ,

(B) , , , ,
(C) , , , ,

(D) , , , ,
30.
I
II
:
I
II
(a)
(i)

(b)
(ii)
(c)
(iii)
(d)
(iv)

II
(a)
(i)
(b)
(ii)
(c)
(iii)
(d)
(iv)
:
(a)
27.
(b)
(c)
(d)
(A) (iii)
(ii) (iv)
(i)
(B) (iv)
(i)
(ii)
(iii)
(C) (ii)
(iii) (iv)
(i)
(D)
(ii) (iii) (iv)
(i)
(A) :

2 (R)
:

(a)
(b)
(c)
(d)
(A) (iii)
(i)
(iv)
(ii)
(B) (iv)
(i)
(ii)
(iii)
(C) (ii)
(iii) (iv)
(i)
(D) (iv)
(ii)
(iii)
(i)
(A) (A) , (R)

(B)
(A) , (R)
(C)
(A) , (R)
31.
(D) (A) , (R)
28.

?
(A)
(B)
(C)
(D)
J-6510
17
(A) : 8

2 (R)
:

7

(A) (A) , (R)
(B) (A) , (R)
(C) (A) , (R)
(D) (A) , (R)
Paper-II
32.
Which theatre has the Act Curtain ?
35.
Assertion (A) : Western theatres

new concepts are evolved
through the life conditions of
their practitioners.
Reason (R) : Because intellectuals
tend to portray real life issues
through theatre.
(B) (A) is true, (R) is true.
(C) (A) is false, (R) is true.
36.
Identify the correct sequence of

following theatre practitioners who
emphasised the role of music in
theatre.
(A) Ratan Thiyam, B.V. Karanth,
K.N. Pannikar, Habib Tanvir.
(B) Habib Tanvir, B.V. Karanth,
K.N. Pannikar, Ratan Thiyam.
(C) B.V. Karanth, Habib Tanvir,
K.N. Pannikar, Ratan Thiyam.
(D) K.N. Pannikar, Habib Tanvir,
B.V. Karanth, Ratan Thiyam.
37.

List I
List II
(a) Ebrahim
(i) Ghasiram
Alkazi
Kotwal
(b) K.N. Pannikar (ii) Andh Yuga
(c) Dharmaveer (iii) Tughlaq
Bharti
(d) Jabbar Patel
(iv) Madhyama
Vyayoga
Code :
(a) (b) (c) (d)
(A) (iii) (iv) (ii) (i)
(B) (iv) (ii) (i) (iii)
(C) (ii) (i) (iii) (iv)
(D) (i) (iii) (iv) (ii)
(A) Proscenium Theatre

(B)
Thurst-stage Theatre
(C)
Arena Theatre
(D) Roman Theatre
33.
Give the correct order of the

following Greek plays.
(A) Agamemnon, Medea, Oedipus,
Lysistrata.
(B)
Agamemnon, Oedipus, Medea,

Lysistrata.
(C)
Oedipus, Medea, Agamemnon,

Lysistrata.
(D) Lysistrata,
Agamemnon,
Oedipus, Medea.
34.

List I
List II
(a) Shakespeare
(i) Arms and the

Man
(b) Bertolt Brecht (ii) Mahabharata

(c) Bernard Shaw (iii) Macbeth
(d) Peter Brook
(iv) Mother
Courage
Code :
(a)
(b)
(c)
(d)
(A) (iii) (iv)
(i)
(ii)
(iii) (ii)
(iv)
(C) (iv)
(i)
(ii)
(D)
(ii) (iv) (iii)
(B)
Paper-II
(i)
(i)
(iii)
18
J-6510
32.
33.
34.

(A)
(B)
(C)
(D)
35.
(A) :

7

2 (R)
:

(A) (A) , (R)
(B) (A) , (R)
(C) (A) , (R)
(D) (A) , (R)
36.

8

:
(A) , ..
,
..
77
,
(B) , ..
,
..
77
,
(C) ..
, ,
..
77
,
(D)
.. 77
, , ..
37.
I
II

:
I
II
(a)
(i)
(b)
.. 77
(ii)
(c)
(iii)
(d)
(iv)
8

?
(A)
,
(B)
,
(C)
,
,
(D)
,
,
I
II
:
I
II
(a)
(i)
(b)
(ii)
(c)
(iii)
(d)
(iv)
:
(a)
(b)
(c)
(d)
(A) (iii) (iv)
(i)
(ii)
(iii) (ii)
(iv)
(C) (iv)
(i)
(ii)
(D)
(ii) (iv) (iii)
(B)
J-6510
(i)
(i)
(iii)
(a)
19
(c)
(d)
(A) (iii) (iv) (ii)
(i)
(B) (iv)
(ii)
(i)
(iii)
(C) (ii)
(i)
(iii) (iv)
(D)
(iii) (iv)
(i)
(b)
(ii)
Paper-II
38.
Assertion (A) :
important
Music
aspect
is
of
41.
an
theatre
List I
(a) Nandikar
Festival
language.
Reason (R)
: Because Music is a
nonverbal
mode
of
Code :
(d) Sangamam
Festival
Code :
(a)
(b)
(A) (i)
(B) (ii)
(ii) (iv) (iii)

(i) (iii) (iv)
(B)
(C)
(iv) Kerala
(c)
(C) (iii) (iv) (ii)

(D) (iv) (iii) (i)
(d)
(i)
(ii)
The only traditional theatre form

which performs the Sanskrit drama
till today.
42.
Pick the odd one out :

(A) Ground plan (B) Elevation
(C) Perspectives (D) Paintings
43.
Assertion (A) : Folk performers do

not have the text for the
communication.
(A) Kathakali
(B)
Nautanki
(C)
Kutiyattam
(D) Jatra
40.
List II
(i) Chennai
(b) Surya Festival (ii) New Delhi

(c) NSD Fesival (iii) Kolkatta
communication.
39.
Match the items in List I with

items in List II.
Reason (R) : They never follow

oral tradition.
Code :
(B) (A) is false, (R) is false.
(C) (A) is true, (R) is false.
Which sequence is correct in respect

of NSD-Heads ?
(A) Shanta Gandhi, E. Alkazi,
B.V. Karanth, B.M. Shah.
(B)
E. Alkazi, B.M. Shah, B.V.

44.
Karanth, Shanta Gandhi.

(C)
B. V. Karanth, E. Alkazi, B.M.

Shaw, Shanta Gandhi.
(D) Shanta Gandhi, B.M. Shah,

B.V. Karanth, E. Alkazi.
Paper-II
20
Which theatre has the Orchestra

circle ?
(A) Proscenium Theatre
(B) Globe Theatre
(C) Greek Theatre
(D) Roman Theatre
J-6510
38.
41.
(A) :

7
2 (R)
:

:
(A) (A) , (R)
(B)
(A) , (R)
(C)
(A) , (R)
(D) (A) , (R)
I

II

:
I
II
(a)
(i)
(b)
(ii)
(c)
(iii)
(d) (iv)
:
(A)
(a)
(b)
(i)
(ii) (iv) (iii)
(B) (ii)
39.
40.

7
:
(A)
(B)
(C)
(D)
42.
, .
, ..
,
..
(B)
.
, .. , ..
,

(C)
..
, .
, ..
,
(D)
, .. , ..
,
.
J-6510
21
(d)
(iii) (iv)
(C) (iii) (iv) (ii)
(i)
(D) (iv) (iii)
(ii)

:
(A) 7
(C)
(i)
(B)
(D)
43.
(A) :

7

8

2 (R)
:
8

:
(A) (A) , (R)
(B) (A) , (R)
(C) (A) , (R)
(D) (A) , (R)
44.

?
(A)
(B)
(C)

(D)

8

?
(A)
(i)
(c)
Paper-II
45.
48.
Identify the correct sequence.

(A) Ngmandala,
Hayavadana,
Yayti, Tughlaq.
(A) Body, Voice, Costume, Makeup.
(B)
Hayavadana,
Yayti,
Ngmandala, Tughlaq.
(B)
Voice,
Body,
Costume.
(C)
Tughlaq,
Hayavadana,
Ngmandala, Yayti.
(C)
Costume,
Body.
Make-up,
Voice,
(D) Make-up,
Voice.
Costume,
Body,
(D) Yayti, Tughlaq, Hayavadana,

Ngmandala.
46.
49.
Match the items in List I with

List II :
List I
List II
(a) Epic Theatre
(i) Stanislavsky
(b) Poor Theatre
(ii) Safdar Ha mi
(c) Dramatic
Theatre
(iii) Bertolt Brecht
(A)
(b)
(c)
(i)
(ii) (iv) (iii)
(B)
Richard Schechner
(C)
Gorden Craig
50.
Match items in List I with

List II :
(d)
(B) (ii)
(iii)
(i)
(iv)
(C) (iv)
(i)
(iii)
(ii)
(D) (iii) (iv)
(i)
(ii)
List I
(C)
(c) Bhavbhuti
(iii) Malvika
Agnimitra
(d) Kalidas
(iv) Madhyama
Vyayoga
Code :
(A)

(i) Mudra
Rakshas
(b) Vishakhdatta (ii) Mahaveer

Charit
Reason (R) : Because he was ProAristotle.

(B)
List II
(a) Bhsa
Assertion (A) : Bertolt Brecht does

not
believe
in
actors
identification with the character.

Paper-II
Out of the following who first

voiced for the Modern Theatre
Director ?
(D) Elia Kazan
Code :
(a)
Make-up,
(A) Adolph Appia
(d) Street Theatre (iv) Grotowski
47.
Identify the correct order.
22
(a)
(b)
(c)
(d)
(i)
(ii) (iv) (iii)
(B) (iv)
(i)
(ii)
(iii)
(C) (ii)
(iii)
(i)
(iv)
(D) (iii) (iv) (ii)
(i)
J-6510
45.
46.

:
(A) 7, , ,
(B) , , 7,
(C)
, , 7,
(D) ,
, , 7
I

II

:
I
II
(a)

(i)
(b)
(ii)
(c)
(iii) 8
(d)
(iv)
:
(A)
47.
48.
(a)
(b)
(c)
(i)
(ii) (iv) (iii)
49.
(d)
(B) (ii)
(iii)
(i)
(iv)
(C) (iv)
(i)
(iii)
(ii)
(D) (iii) (iv)
(i)
(ii)
50.
(A)
, , -, -
(B)
, , -, -
(C)
-, -, ,
(D)
-, -, ,
8

?
(A)
(B)
(C)

(D)
I II

:
I
(A) : 8

2 (R)
:

(A) (A) , (R)
(B) (A) , (R)
(C) (A) (R)
(D) (A) , (R)
J-6510
II
(a)
(i)
(b)
(ii)
(c)
(iii)

(d)
(iv)
(A)
23
(a)
(b)
(c)
(d)
(i)
(ii) (iv) (iii)
(B) (iv)
(i)
(ii)
(iii)
(C) (ii)
(iii)
(i)
(iv)
(D) (iii) (iv) (ii)
(i)
Paper-II
Space For Rough Work
D-0109
J-65-10
24
P.T.O.

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Signature and Name of Invigilator

OMR Sheet No. : .........................................

Number of Pages in this Booklet : 24

Instructions for the Candidates

(In figures as per admission card)

Test Booklet No.

Time : 1 1/4 hours]

[Maximum Marks : 100

Number of Questions in this Booklet : 50

DANCE / DRAMA / THEATRE

Match List I with List II :

The most important thing for an

Match List I with List II :

(A) (ii) (i) (iv) (iii)

(C) (i) (iii) (ii) (iv)

(A) (ii) (i) (iv) (iii)

(a) (b) (c) (d)

(a) (b) (c) (d)

Match items in List I with List II :

Reason (R) : Rasa is a pleasure

(A) is true, (R) is false.

(R) is true, (A) is false.

(D) Both(A) and (R) are false.

Assertion (A) : Notions of time and

Select the correct sequence :

(A) (A) is true, (R) is true.

Pick the odd one out.

(A) is false, (R) is false.

(A) is true, (R) is false.

(D) (A) is false, (R) is true.

Assertion (A) : Actors hide their

Match List I with List II :

Assertion (A) : Rasa arises out of

(A) (A) is true, (R) is false.

(A) and (R) are false.

(A) and (R) are true.

(D) (A) is false, (R) is true.

Assertion (A) : The stage lighting is

(A) and (R) both are true.

(A) is false, (R) is true.

(D) (A) is true, (R) is false.

(a) (b) (c) (d)

Assertion (A) : Paper is very costly

Which is the wrong pair ?

Pick the odd pair out.

Identify the correct sequence :

The highest award awarded to a

The chair persons of Central Sangit

Whose brain child is the dance

Assertion (A) : It is essential for

The funding in the area of culture in

Pick the odd pair out.

(A) The Surya Festival

One Billion Eyes

The (Park) New Festival

(D) The Swarnim Festival

Pick the odd pair out.

Match List I with List II :

(D) Sumyukta Panigrahi

(A) (A) , (R)

(D) (A) (R)

(D) (A) (R)

(A) (A) , (R)

(A) (A) , (R)

(D) (A) (R)

(A) (A) (R)