D 6506 PAPER II.P65

Total Page:16

File Type:pdf, Size:1020Kb

D 6506 PAPER II.P65 Signature and Name of Invigilator Answer Sheet No. : ................................................ (To be filled by the Candidate) 1. (Signature) Roll No. (Name) (In figures as per admission card) 2. (Signature) Roll No. (In words) (Name) Test Booklet No. D—6 5 0 6 PAPER—II Time : 1¼ hours]PERFORMING ART [Maximum Marks : 100 Number of Pages in this Booklet : 32 Number of Questions in this Booklet : 50 Instructions for the Candidates ÂÚUèÿææçÍüØô¢ ·ð¤ çÜ° çÙÎðüàæ 1. Write your roll number in the space provided on the top of this 1. ÂãÜðU ÂëDU ·ð¤ ª¤ÂÚU çÙØÌ SÍæÙ ÂÚU ¥ÂÙæ ÚUôÜU Ù•ÕÚU çÜç¹°Ð page. 2. §â ÂýàÙ-˜æ ×𢠿æâ Õãéçß·¤ËÂèØ ÂýàÙ ãñ¢Ð 2. This paper consists of fifty multiple-choice type of questions. 3. ÂÚUèÿææ ÂýæÚ•UÖ ãôÙð ÂÚU, ÂýàÙ-ÂéçSÌ·¤æ ¥æ·¤ô Îð Îè ÁæØð»èÐ ÂãÜðU ÂUæ¡¿ ç×ÙÅU 3. At the commencement of examination, the question booklet ¥æ·¤ô ÂýàÙ-ÂéçSÌ·¤æ ¹ôÜÙð ÌÍæ ©â·¤è çÙ•ÙçÜç¹Ì Áæ¡¿ ·ð¤ çÜ° çÎØð will be given to you. In the first 5 minutes, you are requested ÁæØð¢»ð çÁâ·¤è Áæ¡¿ ¥æ·¤ô ¥ßàØ ·¤ÚUÙè ãñ Ñ to open the booklet and compulsorily examine it as below : (i) ÂýàÙ-ÂéçSÌ·¤æ ¹ôÜÙð ·ð¤ çÜ° ©â·ð¤ ·¤ßÚU ÂðÁ¤ÂÚU Ü»è ·¤æ»Á ·¤è (i) To have access to the Question Booklet, tear off the paper âèÜ ·¤ô ȤæǸU Üð¢UÐ ¹éÜè ãé§ü Øæ çÕÙæ SÅUè·¤ÚU-âèÜU ·¤è ÂéçSÌ·¤æ seal on the edge of this cover page. Do not accept a Sßè·¤æÚU Ù ·¤Úð¢UÐ booklet without sticker-seal and do not accept an open ·¤ßÚU ÂëDU ÂÚU ÀUÂð çÙÎðüàææÙéâæÚU ÂýàÙ-ÂéçSÌ·¤æ ·ð¤ ÂëDU ÌÍæ ÂýàÙô¢ ·¤è booklet. (ii) ⢕Øæ ·¤ô ¥‘ÀUè ÌÚUã ¿ñ·¤ ·¤ÚU Üð¢U ç·¤ Øð ÂêÚðU ãñ¢UÐ ÎôáÂê‡æü ÂéçSÌ·¤æ (ii) Tally the number of pages and number of questions in the booklet with the information printed on the cover çÁÙ×ð¢ ÂëDU / ÂýàÙ ·¤× ãô¢ Øæ ÎéÕæÚUæ ¥æ »Øð ãô¢ Øæ âèçÚUØÜU ×ð¢ Ù ãô¢ page. Faulty booklets due to pages/questions missing ¥ÍæüÌ ç·¤âè Öè Âý·¤æÚU ·¤è ˜æéçÅUÂê‡æü ÂéçSÌ·¤æ Sßè·¤æÚU Ù ·¤Úð¢U ÌÍæ or duplicate or not in serial order or any other ©âè â×Ø ©âð ÜUõÅUæ·¤ÚU ©â·ð¤ SÍæÙ ÂÚU ÎêâÚUè âãè ÂýàÙ-ÂéçSÌ·¤æ discrepancy should be got replaced immediately by a Üð Üð¢Ð U §â·ð¤ çÜ° ¥æ·¤ô Âæ¡¿ ç×ÙÅU çÎØð ÁæØð¢»ðÐ ©â·ð¤ ÕæÎ Ù correct booklet from the invigilator within the period of Ìô ¥æ·¤è ÂýàÙ-ÂéçSÌ·¤æ ßæÂâ Üè ÁæØð»è ¥õÚU Ù ãè ¥æ·¤ô 5 minutes. Afterwards, neither the question booklet ¥çÌçÚUQ¤ â×Ø çÎØæ ÁæØð»æÐ will be replaced nor any extra time will be given. (iii) §â Áæ¡¿ ·ð¤ ÕæÎ ÂýàÙ-ÂéçSÌ·¤æ ·¤è R¤× ⢕Øæ ©•æÚU-˜淤 ÂÚU ¥¢ç·¤Ì (iii) After this verification is over, the Serial No. of the booklet ·¤Úð¢U ¥UõÚU ©•æÚU-˜淤 ·¤è R¤×¤â¢•Øæ §â ÂýàÙ-ÂéçSÌ·¤æ ÂÚU ¥¢ç·¤Ì ·¤ÚU should be entered in the Answer-sheets and the Serial No. of Answer Sheet should be entered on this Booklet. Îð¢Ð 4. Each item has four alternative responses marked (A), (B), (C) 4. ÂýˆØð·¤ ÂýàÙ ·ð¤ çÜ° ¿æÚU ©•æÚU çß·¤Ë (A), (B), (C) ÌÍæ (D) çÎØð »Øð ãñ¢Ð and (D). You have to darken the oval as indicated below on the ¥æ·¤ô âãè ©•æÚU ·ð¤ Îèƒæüßë•æ ·¤ô ÂðÙ âð ÖÚU·¤ÚU ·¤æÜæ ·¤ÚUÙæ ãñ Áñâæ ç·¤ Ùè¿ð correct response against each item. çιæØæ »Øæ ãñÐ ©ÎæãÚU‡æ Ñ Example : A B C D A B C D ÁÕç·¤ (C) âãè ©•æÚU ãñÐ where (C) is the correct response. 5. ÂýàÙô¢ ·ð¤ ©•æÚU ·ð¤ßÜU Âýà٠˜æ I ·ð¤ ¥‹ÎÚU çÎØð »Øð ©•æÚU-˜淤 ÂÚU ãè ¥¢ç·¤Ì 5. Your responses to the items are to be indicated in the Answer ·¤ÚUÙð ãñ¢Ð ØçÎ ¥æ ©•æÚU ˜淤 ÂÚU çÎØð »Øð Îèƒæüßë•æ ·ð¤ ¥Üæßæ ç·¤âè ¥‹Ø 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 SÍæÙ ÂÚU ©•æÚU ç¿‹ãæ¢ç·¤Ì ·¤ÚUÌð ãñ, Ìô ©â·¤æ ×êËUØ梷¤Ù Ùãè¢ ãô»æÐ not be evaluated. 6. ¥‹ÎÚU çÎØð »Øð çÙÎðüàæô¢ ·¤ô ŠØæÙÂêßü·¤ Âɸð¢UÐ 6. Read instructions given inside carefully. 7. ·¤“ææ ·¤æ× (Rough Work) §â ÂéçSÌ·¤æ ·ð¤ ¥ç‹Ì× ÂëDU ÂÚU ·¤Úð¢UÐ 7. Rough Work is to be done in the end of this booklet. 8. ØçÎ ¥æ ©•æÚU-ÂéçSÌ·¤æ ÂÚU ¥ÂÙæ Ùæ× Øæ °ðâæ ·¤ô§ü Öè çÙàææÙ çÁââð ¥æ·¤è 8. If you write your name or put any mark on any part of the test Âã¿æÙ ãô â·ð¤, ¤ç·¤âè Öè Öæ» ÂÚU ÎàææüÌð Øæ ¥¢ç·¤Ì ·¤ÚUÌð ãñ¢ Ìô ÂÚUèÿææ ·ð¤ booklet, except for the space allotted for the relevant entries, çÜØð ¥Øô‚Ø ƒæôçáÌ ·¤ÚU çÎØð ÁæØð¢»ðÐ which may disclose your identity, you will render yourself 9. ¥æ·¤ô ÂÚUèÿææ â×æ# ãôÙð ¤ÂÚU ©•æÚU-ÂéçSÌ·¤æ çÙÚUèÿæ·¤ ×ãôÎØ ·¤ô ÜUõÅUæÙæ liable to disqualification. ¥æßàØ·¤ ãñ ¥õÚU ÂÚUèÿææ â×æç# ·ð¤ ÕæÎ ¥ÂÙð âæÍ ÂÚUèÿææ ÖßÙ âð ÕæãÚU Ù 9. You have to return the test question booklet to the invigilators Üð·¤ÚU ÁæØð¢Ð at the end of the examination compulsorily and must not carry it with you outside the Examination Hall. 10. ·ð¤ßÜ ÙèÜð / ·¤æÜð ÕæÜU Œßæ§ZÅU ÂñÙ ·¤æ ãè §SÌð×æÜ ·¤Úð¢UÐ 10. Use only Blue/Black Ball point pen. 11. ç·¤âè Öè Âý·¤æÚU ·¤æ ⢻‡æ·¤ (·ñ¤Ü·é¤ÜðÅUÚU) UØæ Üæ» ÅðUÕÜ ¥æçÎ ·¤æ ÂýØô» ßçÁüÌ ãñÐ 11. Use of any calculator or log table etc., is prohibited. 12. »ÜÌ ©•æÚU ·ð¤ çÜ° ¥¢·¤ Ùãè¢ ·¤æÅðU ÁæØð¢»ðÐ 12. There is NO negative marking. See Page No. 2 and 3 for Special Instructions / çßàæðá âê¿Ùæ¥æð´ ·ð¤ çÜ° ÂëcÆ â´•Øæ 2 ¥æñÚ 3 Îð¹ð´Ð D—6506 1 P.T.O. DANCE / DRAMA / THEATRE PAPER—II SPECIAL INSTRUCTIONS 1. 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. 2. Candidates are required to mark clearly on the OMR Answer Sheet, the Part Number which they have selected. PART—I Common to Dance and Drama / Theatre 1. “An actor prepares” is written by : (A) Richard Schekner (B) Stanislavasky (C) Bamold Brakhct (D) Arthur Miller 2. Assertion (A) : Westerners are attracted to Indian Performing Arts. Reason (R) : Indian Performing arts are exotic, mystical and divine. (A) (A) true but (R) is false (B) (A) and (R) both true (C) (A) and (R) both false (D) (A) false but (R) true 3. Assertion (A) : The common ambition of actors and classical dancers is to reach Bollywood. Reason (R) : Bollywood offers money and glamour. (A) (A) is true (R) is false (B) (A) and (R) both true (C) (A) is false (R) is true (D) (A) and (R) both false 4. Pick the odd pair out : (A) Gangubai Hangal - Vocal (B) Shivkumar Sharma - Flute (C) Vempati Chinna Satyam - Dance (D) Ustad Sultan Khan - Sarangi D—6506 2 ÙëˆØ / ÙæÅ·¤ / Ú´»×´¿ ÂýàÙ˜æ—II çßàæðá âê¿Ùæ°¡ 1. ÂÚèÿææÍèü Öæ»-I ·ð¤ âÖè 25 ÂýàÙæ𴠷𤠩•æÚ Îð´Ð Øã Öæ» ¥çÙßæØü ãñÐ ÂÚèÿææÍèü Öæ»-II ¥æñÚ Öæ»-III ×ð´ âð ç·¤âè °·¤ Öæ» ·ð¤ âÖè 25 ÂýàÙæ𴠷𤠩•æÚ Îð´Ð ÂýˆØð·¤ ÂýàÙ ·ð¤ Îæð ¥´·¤ ãñ´Ð 2. ÂÚèÿææÍèü ¥ÂÙè ¿ØçÙÌ Öæ» ·¤æð OMR ©•æÚ Â˜æ ×ð´ SÂcÅ M¤Â âð ¥´ç·¤Ì ·¤Úð´Ð Öæ»—I ÙëˆØ/ÙæÅ·¤/Ú´»×´¿ 1. ÒÒ°Ù °ð•ÅÚ çÂýÂðÚÁÓÓ ·ð¤ Üð¹·¤ ãñ´ Ñ (A) çÚ¿Çü àæ•ÙÚ (B) SÅæçÙSÜßæS·¤è (C) Õæ×æðËÇ Õýæ•Ì (D) ¥æÚÍÚ ç×ÜÚ 2. ·¤ÍÙ (A) : ÖæÚÌèØ Ú´»-×´¿ ·¤Üæ¥æð´ ·¤è ¥æðÚ Âæà¿æˆØ ·ð¤ Üæ𻠥淤çàæüÌ ãæðÌð ãñ´Ð ·¤æÚ‡æ (R) : ÖæÚÌèØ Ú´»-×´¿ ·¤Üæ°¡ ¥•Øæ»Ì, ÚãSØ×Øè °ß´ Îñçß·¤ ãñÐ (A) (A) âãè ãñ, ×»Ú (R) »ÜÌ ãñÐ (B) (A) °ß´ (R) ÎæðÙæð´ âãè ãñÐ (C) (A) °ß´ (R) ÎæðÙæð´ »ÜÌ ãñÐ (D) (A) »ÜÌ ãñ, ×»Ú (R) âãè ãñÐ 3. ·¤ÍÙ (A) : ÕæñÜèßéÇ ×ð´ Âãé¡¿Ùæ ¥çÖÙðÌæ °ß´ àææS˜æèØ ÙÌü·¤æð´ ·¤æ âæÛææ ÜÿØ ãñÐ ·¤æÚ‡æ (R) : ÕæñÜèßéÇ Âñâæ °ß´ ¥æ·¤áü‡æ ÎðÌæ ãñÐ (A) (A) âãè ãñ, (R) »ÜÌ ãñÐ (B) (A) °ß´ (R) ÎæðÙæð´ âãè ãñÐ (C) (A) »ÜÌ ãñ, (R) âãè ãñÐ (D) (A) °ß´ (R) ÎæðÙæð´ »ÜÌ ãñÐ 4. çßá× ·¤æð ¿éçÙØðÐ (A) »´»êÕæ§ü ãæÙ÷»Ü - »æØÙ (B) çàæß·é¤×æÚ àæ×æü - Õæ¡âéÚè (C) ßð×ÂÌè ç¿óæ âˆØ× - ÙëˆØ (D) ©SÌæÎ âéËÌæÙ ¹æÙ - âæÚ´»è D—6506 3 P.T.O. 5. “Bharata Ratna” is not awarded to : (A) Bismilla Khan Saheb (B) Pt. Ravi Shankar (C) M.S. Subbalakshmi (D) Balmurali Krishnan 6. Match List-I with List-II : List-I List-II (a) A.R. Rehman (i) Drumset (b) Vittu Vinayak Rao (ii) Tabla (c) Shivamani (iii) Ghatam (d) Zakir Hussain (iv) Composer Code : (a) (b) (c) (d) (A) (iv) (iii) (i) (ii) (B) (iv) (iii) (ii) (i) (C) (iv) (ii) (i) (iii) (D) (iii) (ii) (iv) (i) 7. Put in correct sequence : (A) Man and Machine, Chandalika, Light of Asia, Stree (B) Man and Machine, Light of Asia, Chandalika, Stree (C) Light of Asia, Man and Machine, Chandalika, Stree (D) Man and Machine, Stree, Chandalika, Light of Asia 8.
Recommended publications
  • Contents SEAGULL Theatre QUARTERLY
    S T Q Contents SEAGULL THeatRE QUARTERLY Issue 17 March 1998 2 EDITORIAL Editor 3 Anjum Katyal ‘UNPEELING THE LAYERS WITHIN YOURSELF ’ Editorial Consultant Neelam Man Singh Chowdhry Samik Bandyopadhyay 22 Project Co-ordinator A GATKA WORKSHOP : A PARTICIPANT ’S REPORT Paramita Banerjee Ramanjit Kaur Design 32 Naveen Kishore THE MYTH BEYOND REALITY : THE THEATRE OF NEELAM MAN SINGH CHOWDHRY Smita Nirula 34 THE NAQQALS : A NOTE 36 ‘THE PERFORMING ARTIST BELONGED TO THE COMMUNITY RATHER THAN THE RELIGION ’ Neelam Man Singh Chowdhry on the Naqqals 45 ‘YOU HAVE TO CHANGE WITH THE CHANGING WORLD ’ The Naqqals of Punjab 58 REVIVING BHADRAK ’S MOGAL TAMSA Sachidananda and Sanatan Mohanty 63 AALKAAP : A POPULAR RURAL PERFORMANCE FORM Arup Biswas Acknowledgements We thank all contributors and interviewees for their photographs. 71 Where not otherwise credited, A DIALOGUE WITH ENGLAND photographs of Neelam Man Singh An interview with Jatinder Verma Chowdhry, The Company and the Naqqals are by Naveen Kishore. 81 THE CHALLENGE OF BINGLISH : ANALYSING Published by Naveen Kishore for MULTICULTURAL PRODUCTIONS The Seagull Foundation for the Arts, Jatinder Verma 26 Circus Avenue, Calcutta 700017 86 MEETING GHOSTS IN ORISSA DOWN GOAN ROADS Printed at Vinayaka Naik Laurens & Co 9 Crooked Lane, Calcutta 700 069 S T Q SEAGULL THeatRE QUARTERLY Dear friend, Four years ago, we started a theatre journal. It was an experiment. Lots of questions. Would a journal in English work? Who would our readers be? What kind of material would they want?Was there enough interesting and diverse work being done in theatre to sustain a journal, to feed it on an ongoing basis with enough material? Who would write for the journal? How would we collect material that suited the indepth attention we wanted to give the subjects we covered? Alongside the questions were some convictions.
    [Show full text]
  • T]Ntversity of Hyderabai) S.N.School Of' Arts and Communication
    I Code No: B-30 T]NTVERSITY OF HYDERABAI) S.N.SCHOOL OF' ARTS AND COMMUNICATION ENTRANCE EXAMINATION. F'EBRUARY _ 2013 M.P.A OHEATRE ARTS) Max. Marks:50 Hall TicketNo. Instructions: i) Write ]our .+- -*r-rz Hall Ticket Number in OMR Answer Sheet given to you. Also write the Hall Ticket Number in the space provided above. iD There is negative marking. Each wrong answer carries -0.33 mark. iii) Answers are to be marked on OMR answer sheet following the instructions provided there upon. iv) Hand over the OMR answer sheet at the end of the examination to the Invigilator. v) No additional sheets will be provided. Rough work can be done in the question paper itself / space provided at the end of the booklet. vi) The question paper.un t" taf<in Uy tfre canaiaates at the end of the examination. 1. The author of the play "Hayavadana" is A) K.Krisbnaiah B) Choramaswami C) Girish Karnad D) Bharatendu Harischandra 2. Guru Kelucharan Mahapathra is an exponent of the form A) Satriya B) Odissi C) Katthak D) Kuchipudi L B -eo 3. World Theatre day is celebrated on A) April26 B) January 31 C) August 15 D)March27 4. M.F.Hussain is a noted A) Painter B) Violinist C) Singer D) Architect 5. The director of play "Charan Das Chor" of Naya Theatre group is A) Vrjay Tendulkar B) Habib Tanvir C) Utpal Dutt D) B.V.Karanth 6. The Golkonda Fort is situated at A) Mumbai B) Hyderabad C) Bhuvaneswar D) Madhurai 7. Number of Vedas are A)2 B) 8 c)4 D) s 8.
    [Show full text]
  • Library Catalogue
    Id Access No Title Author Category Publisher Year 1 9277 Jawaharlal Nehru. An autobiography J. Nehru Autobiography, Nehru Indraprastha Press 1988 historical, Indian history, reference, Indian 2 587 India from Curzon to Nehru and after Durga Das Rupa & Co. 1977 independence historical, Indian history, reference, Indian 3 605 India from Curzon to Nehru and after Durga Das Rupa & Co. 1977 independence 4 3633 Jawaharlal Nehru. Rebel and Stateman B. R. Nanda Biography, Nehru, Historical Oxford University Press 1995 5 4420 Jawaharlal Nehru. A Communicator and Democratic Leader A. K. Damodaran Biography, Nehru, Historical Radiant Publlishers 1997 Indira Gandhi, 6 711 The Spirit of India. Vol 2 Biography, Nehru, Historical, Gandhi Asia Publishing House 1975 Abhinandan Granth Ministry of Information and 8 454 Builders of Modern India. Gopal Krishna Gokhale T.R. Deogirikar Biography 1964 Broadcasting Ministry of Information and 9 455 Builders of Modern India. Rajendra Prasad Kali Kinkar Data Biography, Prasad 1970 Broadcasting Ministry of Information and 10 456 Builders of Modern India. P.S.Sivaswami Aiyer K. Chandrasekharan Biography, Sivaswami, Aiyer 1969 Broadcasting Ministry of Information and 11 950 Speeches of Presidente V.V. Giri. Vol 2 V.V. Giri poitical, Biography, V.V. Giri, speeches 1977 Broadcasting Ministry of Information and 12 951 Speeches of President Rajendra Prasad Vol. 1 Rajendra Prasad Political, Biography, Rajendra Prasad 1973 Broadcasting Eminent Parliamentarians Monograph Series. 01 - Dr. Ram Manohar 13 2671 Biography, Manohar Lohia Lok Sabha 1990 Lohia Eminent Parliamentarians Monograph Series. 02 - Dr. Lanka 14 2672 Biography, Lanka Sunbdaram Lok Sabha 1990 Sunbdaram Eminent Parliamentarians Monograph Series. 04 - Pandit Nilakantha 15 2674 Biography, Nilakantha Lok Sabha 1990 Das Eminent Parliamentarians Monograph Series.
    [Show full text]
  • Department of English University of Delhi Delhi - 110007
    1 DEPARTMENT OF ENGLISH UNIVERSITY OF DELHI DELHI - 110007 Structure of BA Honours English English for BA/ BCom/BSc Programme and English for BA(H)/BCom(H)/BSc (H) under Choice Based Credit System (CBCS) Syllabus applicable for students seeking admission to the BA Honours English, BA/BCom/BSc Programme and BA(H)/BCom(H)/BSc(H) and under CBCS in the academic year 2015-18 1 2 Structure of B. A. Honours English under CBCS Core Course Paper Titles Page No Sem I 1. Indian Classical Literature - 4 2. European Classical Literature - 4 Sem II 3. Indian Writing in English - 5 4. British Poetry and Drama: 14th to 17th Centuries - 6 Sem III 5. American Literature - 7 6. Popular Literature - 8 7. British Poetry and Drama: 17th and 18th Centuries - 8 Sem IV 8. British Literature: 18th Century - 9 9. British Romantic Literature - 10 10. British Literature: 19th Century - 11 Sem V 11. Women’s Writing - 11 12. British Literature: The Early 20th Century - 12 Sem VI 13. Modern European Drama - 13 14. Postcolonial Literatures - 14 Discipline Centric Elective (Any four) Papers 1-6 will be offered in the 5th semester and Papers 7-13 will be offered in the 6th semester. Students will choose 2 in each semester from at least 4 to be offered by each college. Paper Titles 1. Modern Indian Writing in English Translation - 15 2. Literature of the Indian Diaspora - 16 3. British Literature: Post World War II - 16 4. Nineteenth Century European Realism - 17 5. Literary Criticism - 18 6. Science fiction and Detective Literature - 18 7.
    [Show full text]
  • Bestguru.Comcarnatic Music ‐ Vocal 1978 Maharajapuram V
    Name of the Artist Name of the Art / Field Awarded in Amba Sanyal (Costume Designing) Allied Theatre Arts 2008 Anant Gopal Shinde (Make‐up) Allied Theatre Arts 2003 Ashok Sagar Bhagat (Lighting) Allied Theatre Arts 2002 Ashok Srivastava (Make‐up) Allied Theatre Arts 1981 D. G. Godse (Scenic Design) Allied Theatre Arts 1988 Dolly Ahluwalia (Costume Design) Allied Theatre Arts 2001 G.N. Dasgupta (Lighting) Allied Theatre Arts 1989 Gautam Bhattacharya (Lighting) Allied Theatre Arts 2006 Goverdhan Panchal (Scenic Design) Allied Theatre Arts 1985 H. V. Sharma (Stagecraft) Allied Theatre Arts 2005 Kajal Ghosh (Theatre Music) ‐ Allied Theatre Arts 2000 Kamal Arora (Make‐up) Allied Theatre Arts 2009 Kamal Jain (Lighting) Allied Theatre Arts 2011 Kamal Tewari (Theatre Music) ‐ Allied Theatre Arts 2000 Kanishka Sen (Lighting) Allied Theatre Arts 1994 Khaled Choudhury (Scenic Design) Allied Theatre Arts 1986 Kuldeep Singh (Music for Theatre) Allied Theatre Arts 2009 M. S. Sathyu (Stagecraft) Allied Theatre Arts 1993 Mahendra Kumar (Scenic Design) Allied Theatre Arts 2007 Mansukh Joshi (Scenic & Light Design) Allied Theatre Arts 1997 N. Krishnamoorthy (Stagecraft) Allied Theatre Arts 1995 Nissar Allana (Stagecraft) Allied Theatre Arts 2002 R. K. Dhingra (Lighting) ‐ Allied Theatre Arts 2000 R. Paramashivan (Theatre Music) Allied Theatre Arts 2005 Robin Das (Scenic Design) ‐ Allied Theatre Arts 2000 Roshen Alkazi (Costume Design) Allied Theatre Arts 1990 Shakti Sen (Make‐up) ‐ Allied Theatre Arts 2000 Sreenivas G. Kappanna (Lighting & Stage Design) Allied Theatre Arts 2003 Suresh Bhardwaj (Lighting) Allied Theatre Arts 2005 Tapas Sen (Lighting) Allied Theatre Arts 1974 V. Ramamurthy (Lighting) Allied Theatre Arts 1977 Alathur S. Srinivasa Iyer Carnatic Music ‐ Vocal 1968 Ariyakudi Ramanuja Iyengar Carnatic Music ‐ Vocal 1952 B.
    [Show full text]
  • Tender Notice
    Department of English & Modern European Languages University of Lucknow B.A. (English) Part-I (w.e.f. 2014-2015) Paper-I : Poetry and Drama Unit-I : Ten short-answer questions based on the entire course including three passages for explanation. Unit-II : Scenes from Shakespeare The Balcony Scene in Romeo and Juliet *The Sleep Walking Scene in Macbeth *The Trial Scene in The Merchant of Venice The Opening Scene in Twelfth Night *The Opening Scene in Hamlet The Grave-Digger Scene in Hamlet *The Opening Scene in King Lear *The Recognition Scene in The Tempest Unit-III : William Shakespeare : “True Love” *John Milton : “On His Blindness” *John Donne : “Present in Absence” Michael Drayton : “Since there’s no help left….” Unit-IV : John Dryden : “The Poet Shadwell’ from Mac Flecknoe” *Alexander Pope : “Lines on Addison from The Dunciad” *Thomas Gray : “Elegy Written in a Country Churchyard” William Blake : “London” Unit-V : William Wordsworth : “The World is too much with Us” *P.B. Shelley : “Ode to the West Wind” John Keats : “Ode to a Nightingale” *A.L. Tennyson : “Ulysses” Matthew Arnold : “Rugby Chapel” *Robert Browning : “My Last Duchess” Note: All the works marked with an asterisk (*) are for detailed study. The poems figure in Eternal Rhythms: An Anthology of British, American and Indian-English Poetry, edited by the Department of English and M.E.L., University of Lucknow, Lucknow. The eight scenes prescribed, figure in Scenes from Shakespeare edited by the Department of English & M.E.L., University of Lucknow. Paper-II : Fiction & Short Fiction Unit-I : Ten short-answer questions based on the entire course.
    [Show full text]
  • A HISTORICAL STUDY of ANCIENT INDIAN THEATRE-COMMUNICATION in the LIGHT of NATYASASTRA Malyaban Chattopadhyay Lecturer PG Depart
    Article-12 Global Media Journal-Indian Edition/ISSN 2249-5835 Sponsored by the University of Calcutta/www.caluniv.ac.in Winter Issue/December 2013/Vol. 4/No. 2 A HISTORICAL STUDY OF ANCIENT INDIAN THEATRE-COMMUNICATION IN THE LIGHT OF NATYASASTRA Malyaban Chattopadhyay Lecturer PG Department of History Fakir Chand College University of Calcutta 24 Parganas(South)-74331,West Bengal, India Email: [email protected] Website: www.fccollege.net Abstract Theatre in ancient India was an important medium of communication. There were several dramatists in ancient India like Kalidasa and Bhasa who wrote many dramas.They wrote several dramas which made them immortal in the mind of Indian audience.Richard Salomon while discussing his typological analysis of inscriptions in Indian Epigraphy has mentioned that in the literary inscriptions we can find the reference of drama. It proves that drama was popular in ancient India. For that reason it can be said that drama was also referred in an important medium of mass-communication of ancient world i.e. inscriptions. Here lies a question. Who made the drama so much popular? Here lies the importance of the performers. They had played an important role in popularizing dramas in ancient India. What were their ways of thinking? What was their vision towards acting? How they tried to communicate with the audience? How they tried to analyse the society? We cannot get answers of these questions from any inscription because these only had the reference of the dramas and the dramatists not of those who made the dramas popular i.e. the performers.
    [Show full text]
  • GIPE-172917.Pdf
    NATIONAL BROADCAST TRUST Report of the Working Group on Autonomy for a I< ash bharati NATIONAL BROADCAST TRUST VOLUME II Report of the Working Group on Autonomy for Akashvani & Doordarshan © Ministry of Information and Broadcasting Government of India, New Delhi. February 1978 Published by the Ministry of Information & Broadcasting, Government of India, Printed at The Caxton Press (PI Ltd., New Delhi. Cover Design by DAVP. CONTENTS APPENDICES Pages A. Indian Broadcasting in Retrospect. A-2-17 B. Lay Guide to Broadcasting. A-18-24 C. Notes on other Broadcasting Organisations. A-25-48 D. Extension Broadcasts Abroad. A-49-58 E. TVNF estimate for self-contained TV Production Facility. .. A-58 (i)-(ii) F. Policy Guidelines for Production of Documentary Films for the / Films Division. A-59-61 G. Experiments in Slow-Scan Television and Bandwidth Reduction. A-62-66 H. District Level Rural Television System. A-67-69 I. The A.I.R. Code, 1970. A-70 J. Code for Commercial Advertisements on Radio and Television. , A-11-88 K. Akashvani stations with transmitter power, commercial channels and programme languages. A-89-98 L. Coverage of Akashvani. A-99-100 M. Doordarshan Kendras and coverage. A-101 N. External Broadcasts. A-102-103 0. Akashvani's Monitoring Service. A-104-105 P. Broadcast Receiver Licences. A-106 Q. Plan outlays on Broadcasting. A-107 R. Akashvani's approved list of Musical Instruments. A-108-110 S. Charcha Mandals, A-lll-113 T. School Broadcasts. A-114-117 U. The Working Group's Questionnaire. A-118-123 V. Response to Questionnaire.
    [Show full text]
  • This Thesis Has Been Submitted in Fulfilment of the Requirements for a Postgraduate Degree (E.G
    This thesis has been submitted in fulfilment of the requirements for a postgraduate degree (e.g. PhD, MPhil, DClinPsychol) at the University of Edinburgh. Please note the following terms and conditions of use: This work is protected by copyright and other intellectual property rights, which are retained by the thesis author, unless otherwise stated. A copy can be downloaded for personal non-commercial research or study, without prior permission or charge. This thesis cannot be reproduced or quoted extensively from without first obtaining permission in writing from the author. The content must not be changed in any way or sold commercially in any format or medium without the formal permission of the author. When referring to this work, full bibliographic details including the author, title, awarding institution and date of the thesis must be given. The Aesthetics of Emotional Acting: An Argument for a Rasa-based Criticism of Indian Cinema and Television PIYUSH ROY PhD South Asian Studies The University of Edinburgh 2016 1 DECLARATION This thesis has been composed by me and is my own work. It has not been submitted for any other degree or professional qualification. Piyush Roy 25 February 2017 2 For Thakuba (Aditya Prasanna Madhual), Aai (Malatilata Rout), Julki apa and Pramila Panda aunty II संप्रेषण का कोई भी माध्यम कला है और संप्रेषण का संदेश ज्ञान है. जब संदेश का उद्येश्य उत्तेजना उत्पन करता हो तब कला के उस 셂प को हीन कहते हℂ. जब संदेश ननश्वार्थ प्रेम, सत्य और महान चररत्र की रचना करता हो, तब वह कला पनवत्र मानी जाती है II ननदेशक चंद्रप्रकाश निवेदी, उपननषद् गंगा, एप.
    [Show full text]
  • Report 1967-68
    REPORT 1967-68 Acc. N o........................... ............. Date ......................................... Asian Institute of Bdurynntl Planning and Admin i«ii»n Library ■T'J !»■«.* \ ( I .i’A DC D 13532 MINISTRY OF EDUCATION GOVERNMENT OF INDIA 1968 Publication No. 822 / : ' n • M • • v' - 1 ng aric. Aw. -u CONTENTS Llbrary C hapters P a c i s I. Introductory ........ 1 II. School Education ....... 4 III. National Council of Educational Research and Training 13 IV. Education in the Union Territories .... 23 V. Eigher Education ....... 33 VI. lechnical Education ...... 49 VII. S:ientific Surveys and Development .... 56 VIII. Council of Scientific and Industrial Research . 70 IX. S : h o l a r s h i p s ........................................................... 76 X. S>cial Education, Reading Materials and Libraries . 89 XI. Piysica! Education, Games, Sports and Youth Welfare . 97 XII. Eevelopment of Hindi, Sanskrit and Modern Indian Languages ........ 108 XIII. Lterature and Information ..... 124 X IV . F n e Arts .................................................................................. 131 XV. Vuseums, Archaeology and Archives . 138 XVI. Ciltural Relations with Foreign Countries . 153 XVII. Ctoperation with the United Nations Educational, Scienti- ic and Cultural Organisations ..... 162 A n n e w u s I. Atached and Subordinate Offices and Autonomous Organisations of the Ministry of Education . 181 II. Uiiversities including Institutions Deemed to be Universi- i e s .............................................................................................. 186 ID. Publications Brought out by the Ministry of Education and is A g e n c i e s ...................................................................... ........... 190 IY. tOndriya Vidyalayas (Central Schools) . 196 C h a r ' s I. Vministrative Chart of the Ministry of Education II. Pngress of Primary Education III. Pngress of Middle School Education IV.
    [Show full text]
  • JNICC JAKARTA LIBRARY BOOK LIST (PDF Version)
    JAWAHARLAL NEHRU INDIAN CULTURAL CENTRE EMBASSY OF INDIA JAKARTA JNICC JAKARTA LIBRARY BOOK LIST (PDF version) LARGEST COLLECTION OF INDIAN WRITINGS IN INDONESIA Simple way to find your favourite book ~ write the name of the Book / Author of your choice in “FIND” ~ Note it down & get it collected from the Library in charge of JNICC against your Library membership card. ~2 books allowed per card for 10 days duration. TITLE AUTHOR 1 THE GREAT INDIAN MIDDLE CLASS Pavan K. Varma 2 THE GREAT INDIAN MIDDLE CLASS Pavan K. Varma 3 THE HINDU MIND Bansi Pandit 4 SOCIAL FORESTRY PLANTATION K.M. Tiwari & R.V. Singh 5 INDIA'S CULTURE B.P. Singh 6 INDIAN WOMEN TODAY Uma Shankar Jha & Premlata Pujari 7 INDIA AND WORLD CULTURE Vinayak Krishna Gokak 8 FROM THE GANGES TO THE MEDITERRANEAN Vidya Nivas Mishra and Rfael Argullol 9 DISTRICT DIARY Jaswant Singh 10 TIRANGA OUR NATIONAL FLAG Lt. Cdr. K. V. Singh 11 IN YOUR FACE Suhel Seth 12 GABAN THE STOLEN JEWELS CHRISTOPHER R.KING 13 PAK POXY WAR; a story of ISI, bin Laden and Kargil RAJEEV SHARMA 14 THE RINGING RADIANC E SIR COLIN GARBETT 15 ENVIRONMENTAL MANAGEMENT AND FEDERALISM S. BHATT & AKHTAR MAJEED (EDITOR) 16 A WESTERN JOURNALIST ON INIDA FRANCOIS GAUTIER 17 KAUTILYA TODAY JAIRAM RAMESH 18 CHARISMA & CANON VASUDHA DALMIA, ANGELIKA MALINAR, MARTIN CHRISTOF 19 A GOAN POTPOURRI ANIBAL DA COSTA 20 SOURCES OF INDIAN TRADITION VOL2 STEPHEN HAY (EDITOR) 21 INDIA what can I teach us? F. MAX MULLER 22 SECURING INDIA'S IN THE NEW MILLENNIUM BRAHMA CHELLANEY(EDITOR) 23 TRUMPETS AND TUMULTS MAJ.GEN.
    [Show full text]
  • Of Contemporary India
    OF CONTEMPORARY INDIA Catalogue Of The Papers of Girish Karnad Plot # 2, Rajiv Gandhi Education City, P.O. Rai, Sonepat – 131029, Haryana (India) 1 Girish Karnad (1938-2019) A renowned Kannada playwright, author, actor and film director, Girish Karnad was born on 19 May 1938 at Matheran, Bombay Presidency (now Maharashtra). After graduating from Karnataka University in 1958, Girish Karnad studied philosophy, politics, and economics as a Rhodes Scholar at the University of Oxford (1960–63). After his return to India, Girish Karnad started working with the Oxford University Press in Chennai, 1963, resigned in 1970 to devote full time to writing. At the young age of 35, he became the Director of the Film and the Television Institute of India, Pune (1974–1975), was also its Chairman (1999-2001). He was a visiting Professor at the University of Chicago, 1987–88. He served as the Chairman of the Sangeet Natak Akademi (1988–93), and the Director of the Nehru Centre, London (2000–2003). Girish Karnad started his career in acting and screenwriting in a Kannada movie, Samskara (1970) and acted in more than 50 films including Hindi and other regional languages. The notable among them are Vamsha Vriksha, Swami, Manthan, Nishant, Ahista Ahista, Nagamandala, Sankeerthana, Dharam Chakram, Hey Ram, Iqbal, China Gate, Pukar, Ek Tha Tiger and Tiger Zinda Hai. He played the role of Swami‟s father in the popular TV serial „Malgudi Days‟. Girish Karnad has been a recipient of several National Filmfare Awards -- Best Director and Best Screenplay. He was honoured with the Padma Shri in 1972, Padma Bhushan in 1992 and Jnanpith Award in 1999.
    [Show full text]