PAPER-III PERFORMING ARTS – DANCE / DRAMA / THEATRE Signature and Name of Invigilator 1

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PAPER-III PERFORMING ARTS – DANCE / DRAMA / THEATRE Signature and Name of Invigilator 1. (Signature) ______OMR Sheet No. : ...... (Name) ______(To be filled by the Candidate) 2. (Signature) ______Roll No. (Name) ______(In figures as per admission card) Roll No.______J6 5 1 4 (In words) 1 Time : 2 /2 hours] [Maximum Marks : 150 Number of Pages in this Booklet : 24 Number of Questions in this Booklet : 75 Instructions for the Candidates ¯Ö¸üßõÖÖÙ£ÖµÖÖë Ûêú ×»Ö‹ ×®Ö¤ìü¿Ö 1. Write your roll number in the space provided on the top of 1. ‡ÃÖ ¯ÖéÂšü Ûêú ‰ú¯Ö¸ü ×®ÖµÖŸÖ Ã£ÖÖ®Ö ¯Ö¸ü †¯Ö®ÖÖ ¸üÖê»Ö ®Ö´²Ö¸ü ×»Ö×ÜÖ‹ … this page. 2. ‡ÃÖ ¯ÖÏ¿®Ö-¯Ö¡Ö ´Öë ¯Ö“ÖÆü¢Ö¸ü ²ÖÆãü×¾ÖÛú»¯ÖßµÖ ¯ÖÏ¿®Ö Æïü … 2. This paper consists of seventy five multiple-choice type of 3. ¯Ö¸üßõÖÖ ¯ÖÏÖ¸ü´³Ö ÆüÖê®Öê ¯Ö¸ü, ¯ÖÏ¿®Ö-¯Öã×ÃŸÖÛúÖ †Ö¯ÖÛúÖê ¤êü ¤üß •ÖÖµÖêÝÖß … ¯ÖÆü»Öê questions. ¯ÖÖÑ“Ö ×´Ö®Ö™ü †Ö¯ÖÛúÖê ¯ÖÏ¿®Ö-¯Öã×ÃŸÖÛúÖ ÜÖÖê»Ö®Öê ŸÖ£ÖÖ ˆÃÖÛúß ×®Ö´®Ö×»Ö×ÜÖŸÖ 3. At the commencement of examination, the question booklet •ÖÖÑ“Ö Ûêú ×»Ö‹ ×¤üµÖê •ÖÖµÖëÝÖê, ×•ÖÃÖÛúß •ÖÖÑ“Ö †Ö¯ÖÛúÖê †¾Ö¿µÖ Ûú¸ü®Öß Æîü : will be given to you. In the first 5 minutes, you are requested (i) to open the booklet and compulsorily examine it as below : ¯ÖÏ¿®Ö-¯Öã×ÃŸÖÛúÖ ÜÖÖê»Ö®Öê Ûêú ×»Ö‹ ˆÃÖÛêú Ûú¾Ö¸ü ¯Öê•Ö ¯Ö¸ü »ÖÝÖß ÛúÖÝÖ•Ö (i) To have access to the Question Booklet, tear off the Ûúß ÃÖß»Ö ÛúÖê ±úÖ›Ìü »Öë … ÜÖã»Öß Æãü‡Ô µÖÖ ×²Ö®ÖÖ Ã™üßÛú¸ü-ÃÖß»Ö Ûúß paper seal on the edge of this cover page. Do not accept ¯Öã×ÃŸÖÛúÖ Ã¾ÖßÛúÖ¸ü ®Ö Ûú¸ëü … a booklet without sticker-seal and do not accept an open (ii) Ûú¾Ö¸ü ¯ÖéÂšü ¯Ö¸ü ”û¯Öê ×®Ö¤ìü¿ÖÖ®ÖãÃÖÖ¸ü ¯ÖÏ¿®Ö-¯Öã×ÃŸÖÛúÖ Ûêú ¯ÖéÂšü ŸÖ£ÖÖ booklet. ¯ÖÏ¿®ÖÖë Ûúß ÃÖÓÜµÖÖ ÛúÖê †“”ûß ŸÖ¸üÆü “ÖîÛú Ûú¸ü »Öë ×Ûú µÖê ¯Öæ¸êü (ii) Tally the number of pages and number of questions Æïü … ¤üÖêÂÖ¯ÖæÞÖÔ ¯Öã×ÃŸÖÛúÖ ×•Ö®Ö´Öë ¯ÖéÂšü/¯ÖÏ¿®Ö Ûú´Ö ÆüÖë µÖÖ ¤ãü²ÖÖ¸üÖ †Ö in the booklet with the information printed on the ÝÖµÖê ÆüÖë µÖÖ ÃÖß×¸üµÖ»Ö ´Öë ®Ö ÆüÖë †£ÖÖÔŸÖË ×ÛúÃÖß ³Öß ¯ÖÏÛúÖ¸ü Ûúß cover page. Faulty booklets due to pages/questions ¡Öã×™ü¯ÖæÞÖÔ ¯Öã×ÃŸÖÛúÖ Ã¾ÖßÛúÖ¸ü ®Ö Ûú¸ëü ŸÖ£ÖÖ ˆÃÖß ÃÖ´ÖµÖ ˆÃÖê missing or duplicate or not in serial order or any »ÖÖî™üÖÛú¸ü ˆÃÖÛêú Ã£ÖÖ®Ö ¯Ö¸ü ¤æüÃÖ¸üß ÃÖÆüß ¯ÖÏ¿®Ö-¯Öã×ÃŸÖÛúÖ »Öê »Öë … other discrepancy should be got replaced immediately ‡ÃÖÛêú ×»Ö‹ †Ö¯ÖÛúÖê ¯ÖÖÑ“Ö ×´Ö®Ö™ü ×¤üµÖê •ÖÖµÖëÝÖê … ˆÃÖÛêú ²ÖÖ¤ü ®Ö by a correct booklet from the invigilator within the ŸÖÖê †Ö¯ÖÛúß ¯ÖÏ¿®Ö-¯Öã×ÃŸÖÛúÖ ¾ÖÖ¯ÖÃÖ »Öß •ÖÖµÖêÝÖß †Öî¸ü ®Ö Æüß †Ö¯ÖÛúÖê period of 5 minutes. Afterwards, neither the Question †×ŸÖ×¸üŒŸÖ ÃÖ´ÖµÖ ×¤üµÖÖ •ÖÖµÖêÝÖÖ … Booklet will be replaced nor any extra time will be (iii) ‡ÃÖ •ÖÖÑ“Ö Ûêú ²ÖÖ¤ü OMR ¯Ö¡ÖÛú Ûúß ÛÎú´Ö ÃÖÓÜµÖÖ ‡ÃÖ ¯ÖÏ¿®Ö-¯Öã×ÃŸÖÛúÖ given. (iii) After this verification is over, the OMR Sheet Number ¯Ö¸ü †Ó×ÛúŸÖ Ûú¸ü ¤ëü … should be entered on this Test Booklet. 4. ¯ÖÏŸµÖêÛú ¯ÖÏ¿®Ö Ûêú ×»Ö‹ “ÖÖ¸ü ˆ¢Ö¸ü ×¾ÖÛú»¯Ö (A), (B), (C) ŸÖ£ÖÖ (D) ×¤üµÖê 4. Each item has four alternative responses marked (A), (B), (C) ÝÖµÖê Æïü … †Ö¯ÖÛúÖê ÃÖÆüß ˆ¢Ö¸ü Ûêú ¾Öé¢Ö ÛúÖê ¯Öê®Ö ÃÖê ³Ö¸üÛú¸ü ÛúÖ»ÖÖ Ûú¸ü®ÖÖ Æîü and (D). You have to darken the circle as indicated below on •ÖîÃÖÖ ×Ûú ®Öß“Öê ×¤üÜÖÖµÖÖ ÝÖµÖÖ Æîü … the correct response against each item. ˆ¤üÖÆü¸üÞÖ : Example : •Ö²Ö×Ûúú(C) ÃÖÆüß ˆ¢Ö¸ü Æîü … where (C) is the correct response. 5. ¯ÖÏ¿®ÖÖë Ûêú ˆ¢Ö¸ü Ûêú¾Ö»Ö ¯ÖÏ¿®Ö ¯Öã×ÃŸÖÛúÖ Ûêú †®¤ü¸ü ×¤üµÖê ÝÖµÖê OMR ¯Ö¡ÖÛú ¯Ö¸ü 5. Your responses to the items are to be indicated in the OMR Æüß †Ó×ÛúŸÖ Ûú¸ü®Öê Æïü … µÖ×¤ü †Ö¯Ö OMR ¯Ö¡ÖÛú ¯Ö¸ü ×¤üµÖê ÝÖµÖê ¾Öé¢Ö Ûêú †»ÖÖ¾ÖÖ Sheet given inside the Booklet only. If you mark at any ×ÛúÃÖß †®µÖ Ã£ÖÖ®Ö ¯Ö¸ü ˆ¢Ö¸ü ×“ÖÅ®ÖÖÓ×ÛúŸÖ Ûú¸üŸÖê Æïü, ŸÖÖê ˆÃÖÛúÖ ´Öæ»µÖÖÓÛú®Ö place other than in the circle in the OMR Sheet, it will not be ®ÖÆüà ÆüÖêÝÖÖ … evaluated. 6. †®¤ü¸ü ×¤üµÖê ÝÖµÖê ×®Ö¤ìü¿ÖÖë ÛúÖê ¬µÖÖ®Ö¯Öæ¾ÖÔÛú ¯ÖœÌëü … 6. Read instructions given inside carefully. 7. Ûú““ÖÖ ÛúÖ´Ö (Rough Work) ‡ÃÖ ¯Öã×ÃŸÖÛúÖ Ûêú †×®ŸÖ´Ö ¯ÖéÂšü ¯Ö¸ü Ûú¸ëü … 7. Rough Work is to be done in the end of this booklet. 8. µÖ×¤ü †Ö¯Ö OMR ¯Ö¡ÖÛú ¯Ö¸ü ×®ÖµÖŸÖ Ã£ÖÖ®Ö Ûêú †»ÖÖ¾ÖÖ †¯Ö®ÖÖ ®ÖÖ´Ö, ¸üÖê»Ö 8. If you write your Name, Roll Number, Phone Number or put ®Ö´²Ö¸ü, ±úÖê®Ö ®Ö´²Ö¸ü µÖÖ ÛúÖê‡Ô ³Öß ‹êÃÖÖ ×“ÖÅ®Ö ×•ÖÃÖÃÖê †Ö¯ÖÛúß ¯ÖÆü“ÖÖ®Ö ÆüÖê any mark on any part of the OMR Sheet, except for the space ÃÖÛêú, †Ó×ÛúŸÖ Ûú¸üŸÖê Æïü †£Ö¾ÖÖ †³Ö¦ü ³ÖÖÂÖÖ ÛúÖ ¯ÖÏµÖÖêÝÖ Ûú¸üŸÖê Æïü, µÖÖ ÛúÖê‡Ô allotted for the relevant entries, which may disclose your †®µÖ †®Öã×“ÖŸÖ ÃÖÖ¬Ö®Ö ÛúÖ ¯ÖÏµÖÖêÝÖ Ûú¸üŸÖê Æïü, •ÖîÃÖê ×Ûú †Ó×ÛúŸÖ ×ÛúµÖê ÝÖµÖê identity, or use abusive language or employ any other unfair means such as change of response by scratching or using ˆ¢Ö¸ü ÛúÖê ×´Ö™üÖ®ÖÖ µÖÖ ÃÖ±êú¤ü ÃµÖÖÆüß ÃÖê ²Ö¤ü»Ö®ÖÖ ŸÖÖê ¯Ö¸üßõÖÖ Ûêú ×»ÖµÖê white fluid, you will render yourself liable to disqualification. †µÖÖêÝµÖ ‘ÖÖê×ÂÖŸÖ ×ÛúµÖê •ÖÖ ÃÖÛúŸÖê Æïü … 9. You have to return the test question booklet and Original 9. †Ö¯ÖÛúÖê ¯Ö¸üßõÖÖ ÃÖ´ÖÖ¯ŸÖ ÆüÖê®Öê ¯Ö¸ü ¯ÖÏ¿®Ö-¯Öã×ÃŸÖÛúÖ ‹¾ÖÓ ´Öæ»Ö OMR ¯Ö¡ÖÛú OMR Sheet to the invigilators at the end of the examination ×®Ö¸üßõÖÛú ´ÖÆüÖê¤üµÖ ÛúÖê »ÖÖî™üÖ®ÖÖ †Ö¾Ö¿µÖÛú Æîü †Öî¸ü ¯Ö¸üßõÖÖ ÃÖ´ÖÖ×¯ŸÖ Ûêú ²ÖÖ¤ü compulsorily and must not carry it with you outside the ˆÃÖê †¯Ö®Öê ÃÖÖ£Ö ¯Ö¸üßõÖÖ ³Ö¾Ö®Ö ÃÖê ²ÖÖÆü¸ü ®Ö »ÖêÛú¸ü •ÖÖµÖë … ÆüÖ»ÖÖÓ×Ûú †Ö¯Ö Examination Hall. You are, however, allowed to carry original ¯Ö¸üßõÖÖ ÃÖ´ÖÖ×¯ŸÖ ¯Ö¸ü ´Öæ»Ö ¯ÖÏ¿®Ö-¯Öã×ÃŸÖÛúÖ ŸÖ£ÖÖ OMR ¯Ö¡ÖÛú Ûúß ›ãü¯»ÖßÛêú™ü question booklet and duplicate copy of OMR Sheet on ¯ÖÏ×ŸÖ †¯Ö®Öê ÃÖÖ£Ö »Öê •ÖÖ ÃÖÛúŸÖê Æïü … conclusion of examination. 10. Ûêú¾Ö»Ö ®Öß»Öê/ÛúÖ»Öê ²ÖÖ»Ö ¯¾ÖÖ‡Õ™ü ¯Öê®Ö ÛúÖ Æüß ‡ÃŸÖê´ÖÖ»Ö Ûú¸ëü … 10. Use only Blue/Black Ball point pen. 11. ×ÛúÃÖß ³Öß ¯ÖÏÛúÖ¸ü ÛúÖ ÃÖÓÝÖÞÖÛú (Ûîú»ÖÛãú»Öê™ü¸ü) µÖÖ »ÖÖÝÖ ™êü²Ö»Ö †Ö×¤ü ÛúÖ 11. Use of any calculator or log table etc., is prohibited. ¯ÖÏµÖÖêÝÖ ¾ÖÙ•ÖŸÖ Æîü … 12. There is no negative marks for incorrect answers. 12. ÝÖ»ÖŸÖ ˆ¢Ö¸üÖë Ûêú ×»Ö‹ ÛúÖê‡Ô ®ÖÛúÖ¸üÖŸ´ÖÛú †ÓÛú ®ÖÆüà Æïü … 13. In case of any discrepancy in the English and Hindi versions, 13. µÖ×¤ü †ÓÝÖÏê•Öß µÖÖ ØÆü¤üß ×¾Ö¾Ö¸üÞÖ ´Öë ÛúÖê‡Ô ×¾ÖÃÖÓÝÖ×ŸÖ ÆüÖê, ŸÖÖê †ÓÝÖÏê•Öß ×¾Ö¾Ö¸üÞÖ English version will be taken as final. †Ó×ŸÖ´Ö ´ÖÖ®ÖÖ •ÖÖ‹ÝÖÖ … J-65-14 1 P.T.O. PERFORMING ARTS – DANCE / DRAMA / THEATRE PAPER – III SPECIAL INSTRUCTIONS 1. Candidates are required to answer all the 50 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 for Dance / Drama / Theatre

1. Select the correct sequence : 5. Match the following : (A) Matsya, Vaman, Parashurama, List – I List – II Kalki a. Kathaputali i. Folk Epic (B) Vaman, Kalki, Matsya, b. Dholamaru ii. Ballad Parashurama c. Pandavani iii. Wooden Puppet d. Burrakatha iv. Musical narrative (C) Vaman, Matsya, Kalki, Codes : Parashurama a b c d (D) Kalki, Parashurama, Matsya, (A) iii ii iv i Vaman (B) ii iii i iv (C) i iv iii ii 2. Most of the times, the traditional (D) iii i iv ii theatre in the village is performed at (A) Jamindar’s house 6. Match the following : List – I List – II (B) River bank a. Rigveda i. Shakuntala (C) Village square b. Panini ii. Hymns (D) Village pond c. Kanva iii. Literature d. Sangam iv. Grammar Codes : 3. Assertion (A) : The Vruttis of Natyashastra were specific a b c d dance styles. (A) iv i ii iii (B) i iii iv ii Reason (R) : The Vruttis give character to movements. (C) ii iv i iii (D) iii iv ii i Codes : (A) Both (A) and (R) are true. 7. Put into correct sequence of time (B) Both (A) and (R) are false. (A) Bharata, Abhinavagupta, Dhananjaya, Nandikeshwara (C) (A) is false, (R) is true. (B) Bharata, Dhananjaya, (D) (A) is true, (R) is false. Abhinavagupta, Nandikeshwara (C) Abhinavagupta, 4. Pick the odd one out : Nandikeshwara, Bharata, (A) Mada (B) Rati Dhananjaya (D) Dhananjaya, Bharata, (C) Shanka (D) Asuya Abhinavagupta, Nandikeshwara Paper-III 2 J-65-14 ®ÖéŸµÖ / ®ÖÖ™üÛú / ¸ÓüÝÖ´ÖÓ“Ö ¯ÖÏ¿®Ö ¯Ö¡Ö – III ×¾Ö¿ÖêÂÖ ÃÖæ“Ö®ÖÖ‹Ñ

1. ¯Ö¸üßõÖÖ£Öá ³ÖÖÝÖ-I Ûêú ÃÖ³Öß 50 ¯ÖÏ¿®ÖÖë Ûêú ˆ¢Ö¸ü ¤ëü … µÖÆü ³ÖÖÝÖ †×®Ö¾ÖÖµÖÔ Æîü … ¯Ö¸üßõÖÖ£Öá ³ÖÖÝÖ-II †Öî¸ü

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1. ÃÖÆüß ÛÎú´Ö ÛúÖ “ÖµÖ®Ö Ûúß×•Ö‹ : 5. ×®Ö´®Ö×»Ö×ÜÖŸÖ ÛúÖê ÃÖã´Öê×»ÖŸÖ Ûúß×•Ö‹ : (A) ´ÖŸÃµÖ, ¾ÖÖ´Ö®Ö, ¯Ö¸ü¿Öã¸üÖ´Ö, Ûú»Ûúß ÃÖæ“Öß -I ÃÖæ“Öß -II (B) ¾ÖÖ´Ö®Ö, Ûú»Ûúß, ´ÖŸÃµÖ, ¯Ö¸ü¿Öã¸üÖ´Ö a. Ûúšüü¯ÖãŸÖ»Öß i. »ÖÖêÛú ´ÖÆüÖÛúÖ¾µÖ (C) ¾ÖÖ´Ö®Ö, ´ÖŸÃµÖ, Ûú»Ûúß, ¯Ö¸ü¿Öã¸üÖ´Ö b. œüÖê»ÖÖ´ÖÖ¹ý ii. ÝÖÖ£ÖÖÝÖßŸÖ (²Öî»Ö›ü) c. ¯ÖÖÓ›ü¾ÖÖÞÖß iii. Ûúšü¯ÖãŸÖ»Öß (D) Ûú»Ûúß, ¯Ö¸ü¿Öã¸üÖ´Ö, ´ÖŸÃµÖ, ¾ÖÖ´Ö®Ö d. ²Öã¸üÛú£ÖÖ iv. ÃÖÓÝÖßŸÖ´ÖµÖ ¾ÖéŸÖÖÓŸÖ Ûæú™ü : 2. †×¬ÖÛúÖÓ¿ÖŸÖ: ÝÖÖÑ¾Ö ´Öë ¯ÖÖ¸ü´¯Ö×¸üÛú ×£Ö‹™ü¸ü ÛúÆüÖÑ a b c d ÆüÖêŸÖÖ Æîü ? (A) iii ii iv i (A) •Ö´Öà¤üÖ¸ü Ûêú ‘Ö¸ü (B) ii iii i iv (B) ®Ö¤üß Ûêú ŸÖ™ü ¯Ö¸ü (C) i iv iii ii (D) iii i iv ii (C) ÝÖÖÑ¾Ö Ûêú “ÖÖî¸üÖÆêü ¯Ö¸ü

(D) ÝÖÖÑ¾Ö Ûúß ŸÖ»ÖîµÖÖ ¯Ö¸ü 6. ×®Ö´®Ö×»Ö×ÜÖŸÖ ÛúÖê ÃÖã´Öê×»ÖŸÖ Ûúß×•Ö‹ : ÃÖæ“Öß -I ÃÖæ“Öß -II 3. †×³ÖÛú£Ö®Ö (A) : ®ÖÖ™ËüµÖ¿ÖÖÃ¡Ö Ûúß ¾Öé×¢ÖµÖÖÑ a. ŠúÝ¾Öê¤ü i. ¿ÖÛãú®ŸÖ»ÖÖ ×¾Ö×¿ÖÂ™ü ®ÖÖ™ËüµÖ ¿Öî×»ÖµÖÖÑ £Öà … b. ¯ÖÖ×ÞÖ®Öß ii. Hymns ŸÖÛÔú (R) : ¾Öé×¢ÖµÖÖë ÃÖê Ã¾Öºþ¯Ö ÛúÖê ÝÖ×ŸÖ ×´Ö»ÖŸÖß c. ÛúÞ¾Ö iii. ÃÖÖ×ÆüŸµÖ Æîü … d. ÃÖÓÝÖ´Ö iv. ¾µÖÖÛú¸üÞÖ Ûæú™ü : Ûæú™ü : (A) (A) †Öî¸ü (R) ¤üÖê®ÖÖë ÃÖÆüß Æïü … a b c d (A) iv i ii iii (B) (A) †Öî¸ü (R) ¤üÖê®ÖÖë ÝÖ»ÖŸÖ Æïü … (B) i iii iv ii (C) (A) ÝÖ»ÖŸÖ Æîü, ¯Ö¸ü®ŸÖã (R) ÃÖÆüß Æîü … (C) ii iv i iii (D) (A) ÃÖÆüß Æîü, ¯Ö¸ü®ŸÖã (R) ÝÖ»ÖŸÖ Æîü … (D) iii iv ii i

4. ×¾ÖÂÖ´Ö ÛúÖ “ÖµÖ®Ö Ûúß×•Ö‹ : 7. ÛúÖ»ÖÛÎú´ÖÖ®ÖãÃÖÖ¸ü ÃÖÆüß ÛÎú´Ö ¤üß×•Ö‹ : (A) ´Ö¤ü (A) ³Ö¸üŸÖ, †×³Ö®Ö¾ÖÝÖã¯ŸÖ, ¬Ö®ÖÓ•ÖµÖ, ®ÖÓ×¤üÛêú¿¾Ö¸ü (B) ¸ü×ŸÖ (B) ³Ö¸üŸÖ, ¬Ö®ÖÓ•ÖµÖ, †×³Ö®Ö¾ÖÝÖã¯ŸÖ, ®ÖÓ×¤üÛêú¿¾Ö¸ü (C) ¿ÖÓÛúÖ (C) †×³Ö®Ö¾ÖÝÖã¯ŸÖ, ®ÖÓ×¤üÛêúÀ¾Ö¸ü, ³Ö¸üŸÖ, ¬Ö®ÖÓ•ÖµÖ (D) †ÃÖæµÖÖ (D) ¬Ö®ÖÓ•ÖµÖ, ³Ö¸üŸÖ, †×³Ö®Ö¾ÖÝÖã¯ŸÖ, ®ÖÓ×¤üÛêú¿¾Ö¸ü J-65-14 3 Paper-III 8. The “Gita Govinda” of Jayadeva 12. Assertion (A) : In the Sanskrit does not describe Nātyagruh, Mattavar ni. is not simply a decorative piece, it has (A) Kalahantarita a functional value. (B) Virahot-Kanthita Reason (R) : It is an additional acting area located on the either (C) Abhisarika side of Rangshirsh. (D) Vasakasajjika Codes : (A) Both (A) and (R) are true. (B) (A) is true, (R) is false. 9. Assertion (A) : The “Lila” plays are (C) Both (A) and (R) are false. not merely a theatricalisation of (D) (A) is false, (R) is true.

the myth, they are also a 13. Select the correct sequence of the restoration of myth. Sanskrit Dramatists : ā ā Reason (R) : Indian culture has (A) Bhavbhuti, K lid sa, Sudraka, ā cyclic notion of time. Bh sa (B) Bh āsa, K ālid āsa, Sudraka, Codes : Bhavbhuti (A) Both (A) and (R) are true. (C) Sudraka, Bh āsa, Bhavbhuti, ā ā (B) Both (A) and (R) are false. K lid sa (D) Kālid āsa, Bhavbhuti, Bh āsa, (C) (A) is true, (R) is false. Sudraka.

(D) (A) is false, (R) is true. 14. Pick the odd one out : (A) Bharati (B) Kai śiki 10. Pick the odd one out : (C) Ārabhati (D) Āvanti

(A) Chhau 15. Ramchandra-Gunchandra are known (B) Ankia Nat for their treatise called (A) Abhinay Darpa n. (C) Swanga (B) Bh āvprak āshan (D) Terukuthu (C) Nātyadarpa n. (D) Sāhityadarpa n.

11. Match the following : 16. Match the following : List – I List – II List – I List – II a. Bengali i. Balaram Das a. Nātak i. Mrichhakatika Rāmāya na. b. Prakara na. ii. Bhagvadajjukiyam b. Assamese ii. Ranganath Rāmāya na c. Uparupaka iii. Abhi jnan. Shakuntal . c. Oriya iii. Krittivas d. Prahasana iv. Hallisaka Rāmāya na. Codes : d. Telugu iv. Madhava a b c d Rāmāya na. Kandali (A) iii i iv ii Codes : a b c d (B) ii iii i iv (A) iv ii iii i (C) i iv iii ii (B) iii iv i ii (C) ii iii iv i (D) iv ii i iii (D) i iv ii iii Paper-III 4 J-65-14 8. •ÖµÖ¤êü¾Ö «üÖ¸üÖ ¸ü×“ÖŸÖ ‘ÝÖßŸÖ ÝÖÖêØ¾Ö¤ü’ ´Öë ×ÛúÃÖÛúÖ 12. †×³ÖÛú£Ö®Ö (A) : ÃÖÓÃÛéúŸÖ ®ÖÖ™ËüµÖÝÖéÆü ´Öë ¾ÖÞÖÔ®Ö ®ÖÆüà Æîü ? ´Ö¢Ö¾ÖÖ¸üÞÖß ´ÖÖ¡Ö ÃÖ••ÖÖ Ûúß ¾ÖÃŸÖã ®ÖÆüà Æïü (A) Ûú»ÖÆÓüŸÖ×¸üŸÖÖ †×¯ÖŸÖã ‡ÃÖÛúÖ ×ÛÎúµÖÖŸ´ÖÛú ´Öæ»µÖ Æîü … ŸÖÛÔú (R) : µÖÆü †×ŸÖ×¸üŒŸÖ †×³Ö®ÖµÖ õÖê¡Ö Æîü •ÖÖê (B) ×¾Ö¸üÆüÖêŸÛÓú×šüŸÖÖ ¸ÓüÝÖ¿ÖßÂÖÔ Ûêú ¤üÖê®ÖÖë †Öê¸ü ¸üÆüŸÖÖ Æîü … (C) †×³ÖÃÖÖ×¸üÛúÖ Ûæú™ü : (D) ¾ÖÖÃÖÛúÃÖ×••ÖÛúÖ (A) (A) †Öî¸ü (R) ¤üÖê®ÖÖë ÃÖÆüß Æïü … (B) (A) ÃÖÆüß Æîü, ¯Ö¸ü®ŸÖã (R) ÝÖ»ÖŸÖ Æîü … 9. †×³ÖÛú£Ö®Ö (A) : ‘»Öß»ÖÖ ’ ®ÖÖ™üÛú ´ÖÖ¡Ö ×´Ö£Ö (C) (A) †Öî¸ü (R) ¤üÖê®ÖÖë ÝÖ»ÖŸÖ Æïü … ÛúÖ ®ÖÖ™üÛúßÛú¸üÞÖ Æüß ®ÖÆüà Æîü, ¾Öê ×´Ö£Ö Ûúß (D) (A) ÝÖ»ÖŸÖ Æîü, ¯Ö¸ü®ŸÖã (R) ÃÖÆüß Æîü … ¯Öã®ÖÃ£ÖÖÔ¯Ö®ÖÖ ³Öß Æïü … 13. ŸÖÛÔú (R) : ³ÖÖ¸üŸÖßµÖ ÃÖÓÃÛéú×ŸÖ ÛúÖ ÃÖ´ÖµÖ-“ÖÛÎú ´Öë ×®Ö´®Ö×»Ö×ÜÖŸÖ ´Öë ÃÖê ÃÖÓÃÛéúŸÖ ®ÖÖ™üÛúÛúÖ¸üÖë Ûêú ×¾Ö¿¾ÖÖÃÖ Æîü … ÛúÖ»ÖÛÎú´ÖÖ®ÖãÃÖÖ¸ü ÃÖÆüß ÛÎú´Ö ÛúÖ “ÖµÖ®Ö Ûúß×•Ö‹ : (A) ³Ö¾Ö³Öæ×ŸÖ, ÛúÖ×»Ö¤üÖÃÖ, ¿Öã¦üÛú, ³ÖÖÃÖ Ûæú™ü : (B) ³ÖÖÃÖ, ÛúÖ×»Ö¤üÖÃÖ, ¿Öã¦üÛú, ³Ö¾Ö³Öæ×ŸÖ (A) (A) †Öî¸ü (R) ¤üÖê®ÖÖë ÃÖÆüß Æïü … (C) ¿Öã¦üÛú, ³ÖÖÃÖ, ³Ö¾Ö³Öæ×ŸÖ, ÛúÖ×»Ö¤üÖÃÖ (B) (A) †Öî¸ü (R) ¤üÖê®ÖÖë ÝÖ»ÖŸÖ Æïü … (D) ÛúÖ×»Ö¤üÖÃÖ, ³Ö¾Ö³Öæ×ŸÖ, ³ÖÖÃÖ, ¿Öã¦üÛú (C) (A) ÃÖÆüß Æîü, ¯Ö¸ü®ŸÖã (R) ÝÖ»ÖŸÖ Æîü … 14. ×¾ÖÂÖ´Ö ÛúÖê “Öã×®Ö‹ : (D) (A) ÝÖ»ÖŸÖ Æîü, ¯Ö¸ü®ŸÖã (R) ÃÖÆüß Æîü … (A) ³ÖÖ¸üŸÖß (B) Ûîú×¿ÖÛúß 10. ×¾ÖÂÖ´Ö ÛúÖ “ÖµÖ®Ö Ûúß×•Ö‹ : (C) †Ö¸ü³Ö™üß (A) ”ûÖˆ (D) †Ö¾Ö×®ŸÖ (B) †ÖÓ×Ûú†Ö®ÖÖ™ü 15. ¸üÖ´Ö“Ö®¦ü-ÝÖãÞÖ“Ö®¦ü †¯Ö®Öê ×ÛúÃÖ ¯ÖÏ²Ö®¬Ö Ûêú ×»Ö‹ (C) Ã¾ÖÖÓÝÖ ×¾ÖÜµÖÖŸÖ Æïü ? (D) ŸÖê¹ýÛãú£Öã (A) †×³Ö®ÖµÖ ¤ü¯ÖÔÞÖ (B) ³ÖÖ¾Ö ¯ÖÏÛúÖ¿Ö®Ö 11. ×®Ö´®Ö×»Ö×ÜÖŸÖ ÛúÖê ÃÖã´Öê×»ÖŸÖ Ûúß×•Ö‹ : (C) ®ÖÖ™ËüµÖ ¤ü¯ÖÔÞÖ ÃÖæ“Öß -I ÃÖæ“Öß -II (D) ÃÖÖ×ÆüŸµÖ ¤ü¯ÖÔÞÖ

a. ®ÖÖ™üÛú i. ´Öé“”ûÛú×™üÛú 16. ×®Ö´®Ö×»Ö×ÜÖŸÖ ÛúÖê ÃÖã´Öê×»ÖŸÖ Ûúß×•Ö‹ : b. ¯ÖÏÛú¸üÞÖ ii. ³ÖÝÖ¾Ö¤Ëü••ÖãÛúßµÖ´Ö ÃÖæ“Öß -I ÃÖæ“Öß -II c. ˆ¯Öºþ¯ÖÛú iii. †×³Ö–ÖÖ®Ö ¿ÖÖÛãú®ŸÖ»Ö a. ²ÖÓÝÖÖ»Öß ¸üÖ´ÖÖµÖÞÖ i. ²Ö»Ö¸üÖ´Ö ¤üÖÃÖ d. ¯ÖÏÆüÃÖ®Ö iv. Æü×»»ÖÃÖÛú b. †ÃÖ×´ÖµÖÖ ¸üÖ´ÖÖµÖÞÖ ii. ¸ÓüÝÖ®ÖÖ£Ö Ûæú™ü : c. ˆ×›ÌüµÖÖ ¸üÖ´ÖÖµÖÞÖ iii. Ûéú×¢Ö¾ÖÖÃÖ d. ŸÖê»ÖÝÖã ¸üÖ´ÖÖµÖÞÖ iv. ´ÖÖ¬Ö¾Ö ÛúÞ›üÖ»Öß a b c d Ûæú™ü : (A) iii i iv ii a b c d (B) ii iii i iv (A) iv ii iii i (C) i iv iii ii (B) iii iv i ii (D) iv ii i iii (C) ii iii iv i (D) i iv ii iii J-65-14 5 Paper-III 17. Assertion (A) : In ‘Mahabharata’ 21. Match the items in List – I with the Suta functions as a Sutradhar. items in List – II : List – I List – II Reason (R) : He is a narrator and a. Kabuki i. China commentator who introduces b. Opera ii. Kerala characters, tells about the time, c. Otton Thullal iii. Sri Lanka place and action of the story. d. Kandyan iv. Japan Codes : Dance Codes : (A) (A) is false, (R) is false. a b c d (B) (A) is true, (R) is false. (A) iv i ii iii (C) (A) is true, (R) is true. (B) iii iv i ii (C) i iii iv ii (D) (A) is false, (R) is true. (D) ii i iii iv

18. Select the correct sequence of 22. Assertion (A) : Training is happenings in Ramayana : knowledge, knowledge is power, training is the link to (A) Mārich Vadh, Bharatmilap, the past, to the world of reality Lankadahan, Agni Pariksha to the future. (B) Bharatmilap, M ārich Vadh, Reason (R) : Training leads the performer to interpret the Lankadahan, Agni Pariksha dramatic text and transmit the (C) Lankadahan, Agni Pariksha, performance text. Bharatmilap, M ārich Vadh Codes : (A) Both (A) and (R) are false. (D) Agni Pariksha, M ārich Vadh, (B) Both (A) and (R) are true. Lankadahan, Bharatmilap (C) (A) is true, (R) is false. (D) (A) is false, (R) is true. 19. Pick the odd one out : ā ā 23. Which of the following is correctly (A) V li-T ra matched ? (B) Hanuman-Anjani (A) Kalpana – Uday Shankar (C) Rāva na-Mandodari. (B) Balasaraswati – Nritta (C) G. Shankar – Terukuthu (D) Lakshama n-Urmila. Pillai (D) Alkazi – Nehru Yuva Kendra 20. In ‘Mahabharata’ Sikhandi had killed

(A) Guru Dro na. 24. Pick the odd one out : (A) Kalari – Kerala (B) Bhisma Pit āmah (B) Thang-ta – Manipur (C) Jaidrath (C) Pharikhanda – Chhau (D) Sutaputra Kar na. (D) Kollattam – W. Bengal Paper-III 6 J-65-14 17. †×³ÖÛú£Ö®Ö (A) : ´ÖÆüÖ³ÖÖ¸üŸÖ ´Öë ‘ÃÖæŸÖ ’ ÃÖæ¡Ö¬ÖÖ¸ü 21. ÃÖæ“Öß -I ÃÖê ÃÖæ“Öß -II ÛúÖ ×´Ö»ÖÖ®Ö Ûúß×•Ö‹ : Ûêú ºþ¯Ö ´Öë ÛúÖµÖÔ Ûú¸üŸÖÖ Æîü … ÃÖæ“Öß -I ÃÖæ“Öß -II ŸÖÛÔú (R) : ¾ÖÆü Ûú£ÖÖÛú¢ÖÖÔ Æîü †Öî¸ü ™üßÛúÖÛúÖ¸ü ³Öß a. ÛúÖ²ÖãÛúß i. “Öß®Ö •ÖÖê ¯ÖÖ¡ÖÖë ÃÖê ¯Ö×¸ü“ÖµÖ Ûú¸ü¾ÖÖŸÖÖ Æîü †Öî¸ü b. †Öê¯Öê¸üÖ ii. Ûêú¸ü»Ö ÛúÆüÖ®Öß Ûêú ÃÖ´ÖµÖ, Ã£ÖÖ®Ö †Öî¸ü ×ÛÎúµÖÖ Ûêú c. †Öê¼ü®Ö £Öã»»Ö»Ö iii. ÁÖß»ÖÓÛúÖ ²ÖÖ¸êü ´Öë ²ÖŸÖ»ÖÖŸÖÖ Æîü … d. Ûêú®›üµÖ®Ö ›üÖ®ÃÖ iv. •ÖÖ¯ÖÖ®Ö

Ûæú™ü : Ûæú™ü : (A) (A) ÝÖ»ÖŸÖ Æîü, (R) ÝÖ»ÖŸÖ Æîü … a b c d (B) (A) ÃÖÆüß Æîü, (R) ÝÖ»ÖŸÖ Æîü … (A) iv i ii iii (B) iii iv i ii (C) (A) ÃÖÆüß Æîü, (R) ÃÖÆüß Æîü … (C) i iii iv ii (D) (A) ÝÖ»ÖŸÖ Æîü, (R) ÃÖÆüß Æîü … (D) ii i iii iv

18. ¸üÖ´ÖÖµÖÞÖ Ûêú ‘Ö™ü®ÖÖÛÎú´Ö Ûêú †®ÖãÃÖÖ¸ü, ×®Ö´®Ö×»Ö×ÜÖŸÖ 22. †×³ÖÛú£Ö®Ö (A) : ¯ÖÏ×¿ÖõÖÞÖ –ÖÖ®Ö Æîü, –ÖÖ®Ö ´Öë ÃÖê ÃÖÆüß ÛÎú´Ö ÛúÖ “ÖµÖ®Ö Ûúß×•Ö‹ : ¿Ö×ŒŸÖ Æîü, ¯ÖÏ×¿ÖõÖÞÖ ³ÖæŸÖ, µÖ£ÖÖ£ÖÔ ÃÖÓÃÖÖ¸ü, ³Ö×¾ÖÂµÖ ÃÖê ÃÖÓ²Ö¨ü Æîü … (A) ´ÖÖ¸üß“Ö ¾Ö¬Ö, ³Ö¸üŸÖ ×´Ö»ÖÖ¯Ö, »ÖÓÛúÖ ¤üÆü®Ö, †×Ý®Ö ¯Ö¸üßõÖÖ ŸÖÛÔú (R) : ¯ÖÏ×¿ÖõÖÞÖ †×³Ö®ÖêŸÖÖ ÛúÖê ®ÖÖ™üÛúßµÖ ¯ÖÖšü Ûúß ¾µÖÖÜµÖÖ Ûú¸ü®Öê †Öî¸ü †×³Ö®ÖßŸÖ ¯ÖÖšü (B) ³Ö¸üŸÖ ×´Ö»ÖÖ¯Ö, ´ÖÖ¸üß“Ö ¾Ö¬Ö, »ÖÓÛúÖ ¤üÆü®Ö, ÛúÖ ÃÖÓ¯ÖÏêÂÖÞÖ Ûú¸ü®Öê Ûêú ×»Ö‹ ´ÖÖÝÖÔ¤ü¿ÖÔ®Ö †×Ý®Ö ¯Ö¸üßõÖÖ ¤êüŸÖÖ Æîü … (C) »ÖÓÛúÖ ¤üÆü®Ö, †×Ý®Ö ¯Ö¸üßõÖÖ, ³Ö¸üŸÖ ×´Ö»ÖÖ¯Ö, Ûæú™ü : ´ÖÖ¸üß“Ö ¾Ö¬Ö (A) (A) †Öî¸ü (R) ¤üÖê®ÖÖë ÝÖ»ÖŸÖ Æïü … (D) †×Ý®Ö ¯Ö¸üßõÖÖ, ´ÖÖ¸üß“Ö ¾Ö¬Ö, »ÖÓÛúÖ ¤üÆü®Ö, (B) (A) †Öî¸ü (R) ¤üÖê®ÖÖë ÃÖÆüß Æïü … ³Ö¸üŸÖ ×´Ö»ÖÖ¯Ö (C) (A) ÃÖÆüß Æîü, (R) ÝÖ»ÖŸÖ Æîü … (D) (A) ÝÖ»ÖŸÖ Æîü, (R) ÃÖÆüß Æîü … 19. ×¾ÖÂÖ´Ö ÛúÖ “ÖµÖ®Ö Ûúß×•Ö‹ : (A) ²ÖÖ×»Ö - ŸÖÖ¸üÖ 23. ×®Ö´®Ö×»Ö×ÜÖŸÖ ´Öë ÃÖê ÛúÖî®Ö ÃÖÖ ÃÖÆüß µÖãÝ´Ö Æîü ? (A) Ûú»¯Ö®ÖÖ - ˆ¤üµÖ¿ÖÓÛú¸ü (B) Æü®Öã´ÖÖ®Ö - †Ó•Ö×®Ö (B) ²ÖÖ»ÖÖ ÃÖ¸üÃ¾ÖŸÖß - ®Öé¢Ö (C) ¸üÖ¾ÖÞÖ - ´ÖÓ¤üÖê¤ü¸üß (C) •Öß. ¿ÖÓÛú¸ü ×¯Ö»»ÖÖ‡Ô - ŸÖê¹ýÛãú£Öã (D) »Öõ´ÖÞÖ - ˆÙ´Ö»ÖÖ (D) †»ÖÛúÖ—Öß - ®ÖêÆüºþ µÖã¾ÖÖ Ûêú®¦ü

20. ‘´ÖÆüÖ³ÖÖ¸üŸÖ ’ ´Öë ×¿ÖÜÖÞ›üß ®Öê ×ÛúÃÖÛúÖ ¾Ö¬Ö ×ÛúµÖÖ ? 24. ×¾ÖÂÖ´Ö ÛúÖê “Öã×®Ö‹ : (A) ÝÖã¹ý ¦üÖêÞÖ (A) Ûú»Ö¸üß – Ûêú¸ü»Ö (B) £ÖÖÓÝÖ ™üÖ – ´Ö×ÞÖ¯Öã¸ü (B) ³ÖßÂ´Ö ×¯ÖŸÖÖ´ÖÆü (C) ¯Ö×¸üÜÖ®›üÖ – ”ûÖˆ (C) •ÖµÖ¦ü£Ö (D) ÛúÖê»ÖÖ¼ü´Ö – ¾ÖêÃ™ü ²ÖëÝÖÖ»Ö (D) ÃÖæŸÖ¯Öã¡Ö ÛúÞÖÔ J-65-14 7 Paper-III 25. The “Sopanam Musical” tradition is 29. Which of the following is correctly (A) Tamil (B) Telugu matched ? (C) Keralite (D) Gujarati (A) Kovalam – Sanskrit Narayan Drama Panikar 26. Match the items in List – I with the (B) Birju Maharaj – Krishnattam items in List – II : (C) Dr. Kapila – Painting List – I List – II Vatsyayan a. Manimekhalai i. Pandavas (D) Dr. Padma – Ramlila b. Dushyant ii. Krishna Subrahmaniam c. Draupadi iii. Sakuntala d. Yashoda iv. Madhavi 30. Which one is not correctly matched ? (A) Theyyam – Ritualistic Codes : Dance a b c d (B) Kathakar – Story Teller (A) ii iv iii i (C) Lokadharmi – Reciting (B) iv iii i ii Dramatic Text (C) i ii iv iii (D) Akhyan – Gujarat (D) iii i ii iv 31. Match items in List – I with List – II : List – I List – II 27. Assertion (A) : Indian Dance styles a. Natyadarpana i. Shardatanaya are divided into two major b. Bhavprakashna ii. Nandikeshvara categories, Lasya and Tandava c. Abhinaydarpana iii. Dhananjay on the way these styles are executed in movements. d. Dasha Rupak iv. Ramchandra- Gunachandra Reason (R) : The first dance Codes : created by Shiva was crude and a b c d wild, while the dance created (A) i ii iii iv by his Parvati, who imitated his (B) ii iii iv i movements, was delicate and (C) iv i ii iii gentle. (D) iii iv ii i Codes : (A) Both (A) and (R) are correct. 32. Assertion (A) : Vibhava is the cause (B) Both (A) and (R) are false. (Karana). Two vibhavas are (C) (A) is correct, (R) is false. mentioned in Rasasutra of (D) (A) is false, (R) is correct. Bharata. Reason (R) : The main

stimulating cause being termed 28. Pick the ode one out : as alambanavibhava and the (A) Natyanjali – Chidambaram environmental factors are (B) Thyagaraja – Guntoor Uddipana Vibhava. Aradhana Codes : (C) Prahallad – Orissa (A) (A) is false, (R) is false. Natakam (B) (A) is true, (R) is true. (D) Bhagavat – Tamil Nadu (C) (A) is false, (R) is true. Mela (D) (A) is true, (R) is false. Paper-III 8 J-65-14 25. “ÃÖÖê¯ÖÖ®Ö´ÖË ÃÖÓÝÖßŸÖ ” ¯Ö¨ü×ŸÖ Æîü : 29. ÛúÖî®Ö ÃÖÖ ÃÖÆüß µÖãÝ´Ö Æîü ? (A) ŸÖ×´Ö»Ö (A) ÛúÖê¾Ö»Ö´Ö ®ÖÖ¸üÖµÖÞÖ ¯ÖÖ®ÖßÛú¸ü – ÃÖÓÃÛéúŸÖ ®ÖÖ™ËüµÖ (B) ŸÖê»ÖãÝÖã (B) ×²Ö¸ü•Öã ´ÖÆüÖ¸üÖ•Ö – ×ÛÎúÂÞÖÖ¼ü´Ö (C) Ûêú¸ü»ÖßµÖ®Ö (C) ›üÖò. Ûú×¯Ö»ÖÖ ¾ÖÖŸÃµÖÖµÖ®Ö – ×“Ö¡ÖÛú»ÖÖ (D) ÝÖã•Ö¸üÖŸÖß (D) ›üÖò. ¯Ö¤Ëü´ÖÖ ÃÖã²ÖÎÆü´ÖÞµÖ´ÖË – ¸üÖ´Ö»Öß»ÖÖ

26. ÃÖæ“Öß -I Ûúß ´Ö¤üÖë ÛúÖê ÃÖæ“Öß -II Ûúß ´Ö¤üÖë ÃÖê ÃÖã´Öê×»ÖŸÖ Ûúß×•Ö‹ : 30. ÛúÖî®Ö ÃÖÖ ÃÖÆüß µÖãÝ´Ö ®ÖÆüà Æîü ? ÃÖæ“Öß -I ÃÖæ“Öß -II (A) £ÖîµÖ´ÖË – ºþ×œÌü¾ÖÖ¤üß ®ÖéŸµÖ a. ´Ö×ÞÖ´ÖêÜÖ»ÖÖ‡Ô i. ¯ÖÖÓ›ü¾Ö (B) Ûú£ÖÖÛúÖ¸ü – ÛúÆüÖ®ÖßÛúÖ¸ü b. ¤ãüÂµÖ®ŸÖ ii. ÛéúÂÞÖ (C) »ÖÖêÛú¬Ö´Öá – ´Öæ»Ö ®ÖÖ™ËüµÖÛú»ÖÖ ¯ÖœÌü®Öê c. ¦üÖî¯Ö¤üß iii. ¿ÖÛãú®ŸÖ»ÖÖ d. µÖ¿ÖÖê¤üÖ iv. ´ÖÖ¬Ö¾Öß (D) †ÖÜµÖÖ®ÖË – ÝÖã•Ö¸üÖŸÖ Ûæú™ü : a b c d 31. ÃÖæ“Öß -I ÃÖê ÃÖæ“Öß -II ÛúÖ ×´Ö»ÖÖ®Ö Ûúß×•Ö‹ : (A) ii iv iii i ÃÖæ“Öß -I ÃÖæ“Öß -II (B) iv iii i ii (C) i ii iv iii a. ®ÖÖ™ËüµÖ ¤ü¯ÖÔÞÖ i. ¿ÖÖ¸ü¤üÖŸÖ®ÖµÖÖ (D) iii i ii iv b. ³ÖÖ¾Ö ¯ÖÏÛúÖ¿Ö®Ö ii. ®ÖÓ¤üßÛêú¿Ö¾Ö¸ü c. †×³Ö®ÖµÖ ¤ü¯ÖÔÞÖ iii. ¬Ö®ÖÓ•ÖµÖ 27. (A) : ³ÖÖ¸üŸÖßµÖ ®ÖéŸµÖ ¿Öî»Öß ÛúÖê †×³ÖÛú£Ö®Ö d. ¤ü¿Öºþ¯ÖÛú iv. ¸üÖ´Ö“Ö®¦ü-ÝÖãÞÖ“Ö®¦ü »ÖÖÃµÖ †Öî¸ü ŸÖÖÓ›ü¾Ö ¤üÖê ÁÖê×ÞÖµÖÖë ´Öë ×¾Ö³ÖÖ×•ÖŸÖ ×ÛúµÖÖ •ÖÖŸÖÖ Æîü … ‡®Ö ¿Öî×»ÖµÖÖë Ûæú™ü : ÛúÖê õÖÞÖÖë Ûêú ²Öß“Ö ´Öë ¯ÖÏÃŸÖãŸÖ ×ÛúµÖÖ •ÖÖŸÖÖ a b c d Æîü … (A) i ii iii iv ŸÖÛÔú (R) : ×¿Ö¾Ö «üÖ¸üÖ ÃÖé×•ÖŸÖ ¯ÖÆü»ÖÖ ®ÖéŸµÖ (B) ii iii iv i †¯Ö×¸üÂÛéúŸÖ †Öî¸ü ˆ¤Ëü¤üÖ´Ö Æîü, •Ö²Ö×Ûú (C) iv i ii iii ˆ®ÖÛúß ¯ÖÖ¾ÖÔŸÖß, •ÖÖê ˆ®ÖÛúß ÝÖ×ŸÖ ÛúÖ †®ÖãÛú¸üÞÖ Ûú¸üŸÖß £Öß, «üÖ¸üÖ ÃÖé×•ÖŸÖ ®ÖéŸµÖ (D) iii iv ii i ´Öé¤ãü»Ö †Öî¸ü ÃÖãÛúÖê´Ö»Ö Æîü … Ûæú™ü : 32. †×³ÖÛú£Ö®Ö (A) : ×¾Ö³Ö¾Ö ÆêüŸÖã (ÛúÖ¸üÞÖ) Æîü … ³Ö¸üŸÖ Ûêú ¸üÃÖÃÖæ¡Ö ´Öë ¤üÖê ×¾Ö³Ö¾ÖÖë ÛúÖ (A) (A) †Öî¸ü (R) ¤üÖê®ÖÖë ÃÖÆüß Æïü … ˆ»»ÖêÜÖ ×ÛúµÖÖ ÝÖµÖÖ Æîü … (B) (A) †Öî¸ü (R) ¤üÖê®ÖÖë ÝÖ»ÖŸÖ Æïü … ŸÖÛÔú (R) : ´ÖãÜµÖ ˆ¤Ëü¤üß¯ÖÛú ÛúÖ¸üÞÖ ÛúÖê †Ö»ÖÓ²Ö®Ö (C) (A) ÃÖÆüß Æîü, (R) ÝÖ»ÖŸÖ Æîü … ×¾Ö³Ö¾Ö ÛúÆüÖ •ÖÖŸÖÖ Æîü †Öî¸ü ¯Ö×¸ü¾Öê¿Ö ÛúÖ¸üÛú (D) (A) ÝÖ»ÖŸÖ Æîü, (R) ÃÖÆüß Æîü … ˆ¤Ëü¤üß¯Ö®Ö ×¾Ö³Ö¾Ö Æîü …

Ûæú™ü : 28. ×¾ÖÂÖ´ÖË ÛúÖê “Öã×®Ö‹ : (A) (A) (R) (A) ®ÖÖ™ËüµÖÖÓ•Ö×»Ö – ×“Ö¤ü´²Ö¸ü´ÖË ÝÖ»ÖŸÖ Æîü,ü ÝÖ»ÖŸÖ Æîü … (B) ŸµÖÖÝÖ¸üÖ•Ö †Ö¸üÖ¬Ö®ÖÖ – ÝÖã®™æü¸ü (B) (A) ÃÖÆüß Æîü, (R) ÃÖÆüß Æîü … (C) ¯ÖÏÆü»ÖÖ¤ü ®ÖÖ™üÛú´ÖË - ˆ×›ü¿ÖÖ (C) (A) ÝÖ»ÖŸÖ Æîü, (R) ÃÖÆüß Æîü … (D) ³ÖÖÝÖ¾ÖŸÖ ´Öê»ÖÖ – ŸÖ×´Ö»Ö®ÖÖ›ãü (D) (A) ÃÖÆüß Æîü, (R) ÝÖ»ÖŸÖ Æîü … J-65-14 9 Paper-III 33. Identify the correct sequence : 38. Give the correct sequence of the (A) Shoka, Harsa, Rati, Krodh following post-Natyashastric texts : (B) Rati, Harsa, Shoka, Krodh (A) Abhinaya Darpana, Bhava (C) Harsa, Krodh, Rati, Shoka Prakashan, Natya Darpana, (D) Rati, Harsa, Krodh, Shoka Dashrupakam (B) Dashrupakam, Bhava 34. Pick the odd one out : Prakashan, Abhinaya Darpana, (A) Kaisiki (B) Satyavati Natya Darpana (C) Avanti (D) Bharati (C) Natya Darpana, Dashrupakam, Bhava Prakashan, Abhinaya 35. In Natyashastra mainly three types of Darpana, stages are described out of which the (D) Dashrupakam, Bhava best stage advised by Bharata is Prakashan, Natya Darpana, Abhinaya Darpana (A) Vikrstra madhyam (B) Caturastra madhyam 39. Pick the odd one out : (C) Tryastra madhyam (A) Tamasha (D) None of the above (B) Ravana chhaya (C) Pala 36. Match the items in List – I with the (D) Naqal

items in List – II : 40. Ancient Indian performance tradition List – I List – II was based on a. Abhinaya i. Maheswara (A) Written text Darpana Mahaptra (B) Oral tradition b. Abhinaya ii. Dhananjaya (C) Formal characterization (D) Improvisation of the plot and story Candrika c. Abhinava iii. Abhinava Gupta 41. Match the items in List – I with the Bharti items in List – II : d. Dashrupak iv. Nandikeshwara List – I List – II Codes : a. Ramalila i. Chamar b. Pala ii. Mask a b c d c. Surabhi iii. Ritualistic Theatre (A) iv i iii ii Theatre (B) ii iv i iii d. Saraikela iv. Miracles (C) iii ii iv i Chhau (D) i iii ii iv Codes : a b c d 37. Assertion (A) : The knowledge of (A) iii i iv ii Natyashastra is essential for a (B) iv iii i ii contemporary performance (C) i iv ii iii (D) ii i iii iv practitioner in India. Reason (R) : The principle of 42. Assertion (A) : Rasa is considered as the final product of a Natyashastra is strictly classical performance. followed in contemporary Reason (R) : Rasa is meant for performance practice in India. the audience and not for the Codes : performers. (A) Both (A) and (R) are true. Codes : (A) Both (A) and (R) are true. (B) Both (A) and (R) are false. (B) Both (A) and (R) are false. (C) (A) is true, (R) is false. (C) (A) is true, (R) is false. (D) (A) is false, (R) is true. (D) (A) is false, (R) is true. Paper-III 10 J-65-14 33. ÃÖÆüß ÛÎú´Ö ×“ÖÆËü×®ÖŸÖ Ûúß×•Ö‹ : 38. ×®Ö´®Ö×»Ö×ÜÖŸÖ ˆ¢Ö¸ü-®ÖÖ™ËüµÖ¿ÖÖÃ¡ÖßµÖ ¯ÖãÃŸÖÛúÖë Ûêú (A) ¿ÖÖêÛú, ÆüÂÖÔ, ¸ü×ŸÖ, ÛÎúÖê¬Ö ÛÎú´ÖÖë ÃÖê ÃÖÆüß ÛÎú´Ö ÛúÖ “ÖµÖ®Ö Ûúß×•Ö‹ : (B) ¸ü×ŸÖ, ÆüÂÖÔ, ¿ÖÖêÛú, ÛÎúÖê¬Ö (A) †×³Ö®ÖµÖ ¤ü¯ÖÔÞÖ, ³ÖÖ¾Ö ¯ÖÏÛúÖ¿Ö®Ö, ®ÖÖ™ËüµÖ (C) ÆüÂÖÔ, ÛÎúÖê¬Ö, ¸ü×ŸÖ, ¿ÖÖêÛú ¤ü¯ÖÔÞÖ, ¤ü¿Öºþ¯ÖÛú´ÖË, (D) ¸ü×ŸÖ, ÆüÂÖÔ, ÛÎúÖê¬Ö, ¿ÖÖêÛú (B) ¤ü¿Öºþ¯ÖÛú´ÖË, ³ÖÖ¾Ö ¯ÖÏÛúÖ¿Ö®Ö, †×³Ö®ÖµÖ ¤ü¯ÖÔÞÖ, ®ÖÖ™ËüµÖ ¤ü¯ÖÔÞÖ, 34. ×¾ÖÂÖ´Ö ÛúÖê ×“ÖÆËü×®ÖŸÖ Ûúß×•Ö‹ : (C) ®ÖÖ™ËüµÖ ¤ü¯ÖÔÞÖ, ¤ü¿Öºþ¯ÖÛú´ÖË, ³ÖÖ¾Ö ¯ÖÏÛúÖ¿Ö®Ö, (A) Ûîú×ÃÖÛúß (B) ÃÖŸµÖ¾ÖŸÖß †×³Ö®ÖµÖ ¤ü¯ÖÔÞÖ, (C) †¾ÖÓ×ŸÖ (D) ³ÖÖ¸üŸÖß (D) ¤ü¿Öºþ¯ÖÛú´ÖË, ³ÖÖ¾Ö ¯ÖÏÛúÖ¿Ö®Ö, ®ÖÖ™ËüµÖ ¤ü¯ÖÔÞÖ, †×³Ö®ÖµÖ ¤ü¯ÖÔÞÖ, 35. ®ÖÖ™ËüµÖ¿ÖÖÃ¡Ö ´Öë ´ÖãÜµÖŸÖµÖÖ ŸÖß®Ö ¸ÓüÝÖ´ÖÓ“ÖÖë ÛúÖ ¾ÖÞÖÔ®Ö Æîü ¯Ö¸ü®ŸÖã ˆ®Ö´Öë ÃÖê ³Ö¸üŸÖ´Öã×®Ö Ûêú †®ÖãÃÖÖ¸ü ÃÖ¾ÖÖì¢Ö´Ö 39. ×¾ÖÂÖ´Ö ÛúÖê ×“Ö×Å®ÖŸÖ Ûúß×•Ö‹ : (A) ŸÖ´ÖÖ¿ÖÖ (B) ¸üÖ¾ÖÞÖ ”ûÖµÖÖ ¸ÓüÝÖ´ÖÓ“Ö Æîü : (C) ¯ÖÖ»ÖÖ (D) ®ÖÛÌú»Ö (A) ×¾ÖÛéúÂ™ü ´Ö¬µÖ´Ö

(B) “ÖŸÖãÄÖÔ ´Ö¬µÖ´Ö 40. ¯ÖÏÖ“Öß®Ö ³ÖÖ¸üŸÖßµÖ ®ÖÖ™ËüµÖ ¯Ö¸Óü¯Ö¸üÖ ×®Ö´®Ö×»Ö×ÜÖŸÖ ¯Ö¸ü (C) ¡µÖÄÖ ´Ö¬µÖ´Ö †Ö¬ÖÖ×¸üŸÖ £Öß : (D) ˆ¯Ö¸üÖêŒŸÖ ´Öë ÃÖê ÛúÖê‡Ô ®ÖÆüà (A) ×»Ö×ÜÖŸÖ ¯ÖÖšü (B) ´ÖÖî×ÜÖÛú ¯Ö¸Óü¯Ö¸üÖ 36. ÃÖæ“Öß -I ÃÖê ÃÖæ“Öß -II ÛúÖ ×´Ö»ÖÖ®Ö Ûúß×•Ö‹ : (C) †Öî¯Ö“ÖÖ×¸üÛú “Ö×¸ü¡Ö-×“Ö¡ÖÞÖ ÃÖæ“Öß -I ÃÖæ“Öß -II (D) Ûú£ÖÖ®ÖÛú †Öî¸ü ÛúÆüÖ®Öß Ûúß Ûú»¯Ö®ÖÖ a. †×³Ö®ÖµÖ ¤ü¯ÖÔÞÖ i. ´ÖÆêü¿¾Ö¸ü ´ÖÆüÖ¯ÖÖ¡Ö b. †×³Ö®ÖµÖ “ÖÓ×¦üÛúÖ ii. ¬Ö®ÖÓ•ÖµÖ 41. ÃÖæ“Öß -I ÛúÖê ÃÖæ“Öß -II ÃÖê ÃÖã´Öê×»ÖŸÖ Ûúß×•Ö‹ : c. †×³Ö®Ö¾Ö ³ÖÖ¸üŸÖß iii. †×³Ö®Ö¾Ö ÝÖã¯ŸÖ ÃÖæ“Öß -I ÃÖæ“Öß -II d. ¤ü¿Öºþ¯ÖÛú iv. ®ÖÓ¤üß Ûêú¿Ö¾Ö¸üÖ a. ¸üÖ´Ö»Öß»ÖÖ i. “ÖÖ´ÖÖ¸ü Ûæú™ü : b. ¯ÖÖ»ÖÖ ii. ´ÖãÜÖÖî™üÖ a b c d c. ÃÖã¸ü×³Ö ×£Ö‹™ü¸ü iii. ¹ý×œü¾ÖÖ¤üß ×£Ö‹™ü¸ü (A) iv i iii ii d. ÃÖÖ¸üµÖîÛêú»ÖÖ ”ûÖ‰ú iv. “Ö´ÖŸÛúÖ¸ü (B) ii iv i iii Ûæú™ü : (C) iii ii iv i a b c d (D) i iii ii iv (A) iii i iv ii (B) iv iii i ii 37. †×³ÖÛú£Ö®Ö (A) : ³ÖÖ¸üŸÖ ´Öë ÃÖ´ÖÛúÖ»Öß®Ö ´ÖÓ“Ö (C) i iv ii iii Ûú´Öá Ûêú ×»Ö‹ ®ÖÖ™ËüµÖ¿ÖÖÃ¡Ö Ûêú –ÖÖ®Ö ÛúÖ (D) ii i iii iv

ÆüÖê®ÖÖ †×®Ö¾ÖÖµÖÔ Æîü … 42. †×³ÖÛú£Ö®Ö (A) : ¸üÃÖ¿ÖÖÃ¡ÖßµÖ ¯ÖÏ¤ü¿ÖÔ®Ö ÛúÖ ŸÖÛÔú (R) : ³ÖÖ¸üŸÖ ´Öë ÃÖ´ÖÛúÖ»Öß®Ö ´ÖÓ“Ö®Ö-Ûú»ÖÖ †×®ŸÖ´Ö ˆŸ¯ÖÖ¤ü ´ÖÖ®ÖÖ •ÖÖŸÖÖ Æîü … ÆêüŸÖã ®ÖÖ™ËüµÖ¿ÖÖÃ¡Ö Ûêú ×ÃÖ¨üÖ®ŸÖÖë ÛúÖ ²Ö›Ìüß ŸÖÛÔú (R) : ¸üÃÖ †×³Ö®ÖµÖÛú¢ÖÖÔ†Öë Ûêú ×»Ö‹ ®ÖÆüà, ¥üœÌüŸÖÖ ÃÖê ¯ÖÖ»Ö®Ö ×ÛúµÖÖ •ÖÖŸÖÖ Æîü … ÁÖÖêŸÖÖ†Öë Ûêú ×»Ö‹ ÆüÖêŸÖÖ Æîü … Ûæú™ü : Ûæú™ü : (A) (A) †Öî¸ü (R) ¤üÖê®ÖÖë ÃÖÆüß Æïü … (A) (A) †Öî¸ü (R) ¤üÖê®ÖÖë ÃÖÆüß Æïü … (B) (A) †Öî¸ü (R) ¤üÖê®ÖÖë ÝÖ»ÖŸÖ Æïü … (B) (A) †Öî¸ü (R) ¤üÖê®ÖÖë ÝÖ»ÖŸÖ Æïü … (C) (A) ÃÖÆüß Æîü, (R) ÝÖ»ÖŸÖ Æîü … (C) (A) ÃÖÆüß Æîü, (R) ÝÖ»ÖŸÖ Æîü … (D) (A) ÝÖ»ÖŸÖ Æîü, (R) ÃÖÆüß Æîü … (D) (A) ÝÖ»ÖŸÖ Æîü, (R) ÃÖÆüß Æîü … J-65-14 11 Paper-III 43. Arrange the following Parvas of 47. Assertion (A) : Ramachandra- Mahabharata in sequential order : Gunachandra’s Natyadarpana (A) Adiparva, Vanaparva, is important for the drama Sabhaparva, Virataparva, students. Bhishmaparva, Udyogaparva Reason (R) : Its content are how (B) Adiparva, Sabhaparva, to construct playhouses, direct Vanaparva, Virataparva, Udyogaparva, Bhishmaparva plays and theory of abhinaya. (C) Adiparva, Sabhaparva, Codes : Virataparva, Udyogaparva, (A) (A) is true, (R) is false. Vanaparva, Bhishmaparva (B) (A) is true, (R) is true. (D) Adiparva, Bhishmaparva, Sabhaparva, Vanaparva, (C) (A) is false, (R) is false. Udyogaparva, Virataparva (D) (A) is false, (R) is true.

44. Pick the odd one out : 48. Identify the correct sequence : (A) Meghduta (A) Abhinavagupta, Bhattalolata, (B) Koomarasambhav Bhattanayaka, Sri Shankuka (C) Vikramorvashiyam (B) Abhinavagupta, Sri Shankuka, (D) Ritusamghara Bhattalolata, Bhattanayaka

(C) Abhinavagupta, Bhattanayaka, 45. From the following items which one is not a performance oriented form ? Bhattalolata, Sri Shankuka (A) Jatra (D) Bhattalolata, Sri Shankuka, (B) Bhavai Bhattanayaka, Abhinavagupta (C) Nautanki (D) Harivamsha 49. Pick the odd one out : (A) Bhavprakashana of 46. Match the items in List – I with Shardatanaya List – II : (B) Dhvani Siddhanta of List – I List – II Nandikeshvara a. Chou i. Gujarat (C) Astadhyayi of Panini b. Yakshagana ii. Karnataka (D) Arthashastra of Kautilya c. Bhavai iii. Purulia

d. Ankianat iv. Assam 50. Bharata had spoken of Vrittis which Codes : is that Vritti out of the following ? a b c d (A) Panchali (A) i ii iii iv (B) ii iii iv i (B) Praveshak (C) iii ii i iv (C) Kaisiki (D) iv iii ii i (D) Odramagdhi Paper-III 12 J-65-14 43. ´ÖÆüÖ³ÖÖ¸üŸÖ Ûêú ¯Ö¾ÖÖí ÛúÖê ÛÎú´Ö ´Öë ×»Ö×ÜÖ‹ : 47. †×³ÖÛú£Ö®Ö (A) : ¸üÖ´Ö“ÖÓ¦ü-ÝÖãÞÖ“ÖÓ¦ü ÛúÖ (A) †Ö×¤ü¯Ö¾ÖÔ, ¾Ö®Ö¯Ö¾ÖÔ, ÃÖ³ÖÖ¯Ö¾ÖÔ, ×¾Ö¸üÖ™ü¯Ö¾ÖÔ, ®ÖÖ™ËüµÖ¤ü¯ÖÔÞÖ ®ÖÖ™ËüµÖ¿ÖÖÃ¡Ö Ûêú ×¾ÖªÖÙ£ÖµÖÖë Ûêú ³ÖßÂ´Ö¯Ö¾ÖÔ, ˆªÖêÝÖ¯Ö¾ÖÔ ×»Ö‹ ´ÖÆü¢¾Ö¯ÖæÞÖÔ Æîü … (B) †Ö×¤ü¯Ö¾ÖÔ, ÃÖ³ÖÖ¯Ö¾ÖÔ, ¾Ö®Ö¯Ö¾ÖÔ, ×¾Ö¸üÖ™ü¯Ö¾ÖÔ, ŸÖÛÔú (R) : ‡ÃÖÛúß ×¾ÖÂÖµÖ-¾ÖÃŸÖã Æïü : ®ÖÖ™ËüµÖ ÝÖéÆü ˆªÖêÝÖ¯Ö¾ÖÔ, ³ÖßÂ´Ö¯Ö¾ÖÔ ÛúÖ ×®Ö´ÖÖÔÞÖ ÛîúÃÖê ×ÛúµÖÖ •ÖÖ‹, ®ÖÖ™üÛú ÛúÖ ×®Ö¤ìü¿Ö®Ö ÛîúÃÖê ×ÛúµÖÖ •ÖÖ‹ †Öî¸ü †×³Ö®ÖµÖ (C) †Ö×¤ü¯Ö¾ÖÔ, ÃÖ³ÖÖ¯Ö¾ÖÔ, ×¾Ö¸üÖ™ü¯Ö¾ÖÔ, ˆªÖêÝÖ¯Ö¾ÖÔ, ×ÃÖ¨üÖÓŸÖ … ¾Ö®Ö¯Ö¾ÖÔ, ³ÖßÂ´Ö¯Ö¾ÖÔ Ûæú™ü : (D) †Ö×¤ü¯Ö¾ÖÔ, ³ÖßÂ´Ö¯Ö¾ÖÔ, ÃÖ³ÖÖ¯Ö¾ÖÔ, ¾Ö®Ö¯Ö¾ÖÔ, ˆªÖêÝÖ¯Ö¾ÖÔ, ×¾Ö¸üÖ™ü¯Ö¾ÖÔ (A) (A) ÃÖÆüß Æîü, (R) ÝÖ»ÖŸÖ Æîü … (B) (A) ÃÖÆüß Æîü, (R) ÃÖÆüß Æîü … 44. ×¾ÖÂÖ´Ö ÛúÖê “Öã×®Ö‹ : (C) (A) ÝÖ»ÖŸÖ Æîü, (R) ÝÖ»ÖŸÖ Æîü … (A) ´Öê‘Ö¤æüŸÖ (D) (A) ÝÖ»ÖŸÖ Æîü, (R) ÃÖÆüß Æîü … (B) Ûãú´ÖÖ¸üÃÖÓ³Ö¾Ö (C) ×¾ÖÛÎú´ÖÖê¾ÖÔ¿ÖßµÖ´ÖË 48. ÃÖÆüß ÛÎú´Ö ×“ÖÆËü×®ÖŸÖ Ûúß×•Ö‹ : (D) ŠúŸÖãÃÖÓÆüÖ¸ü (A) †×³Ö®Ö¾ÖÝÖã¯ŸÖ, ³Ö¼ü»ÖÖê»Ö™ü, ³Ö¼ü®ÖÖµÖÛú, ÁÖß ¿ÖÓÛãúÛúÖ

45. ×®Ö´®Ö×»Ö×ÜÖŸÖ ´Öë ÃÖê ÛúÖî®Ö ÃÖÖ ¯ÖÏÛúÖ¸ü ¸ÓüÝÖ´ÖÓ“ÖßµÖ ®ÖÆüà (B) †×³Ö®Ö¾ÖÝÖã¯ŸÖ, ÁÖß ¿ÖÓÛãúÛúÖ, ³Ö¼ü»ÖÖê»Ö™ü, Æîü ? ³Ö¼ü®ÖÖµÖÛú (A) •ÖÖ¡ÖÖ (C) †×³Ö®Ö¾ÖÝÖã¯ŸÖ, ³Ö¼ü®ÖÖµÖÛú, ³Ö¼ü»ÖÖê»Ö™ü, ÁÖß ¿ÖÓÛãúÛúÖ (B) ³Ö¾ÖÖ‡Ô (D) ³Ö¼ü»ÖÖê»Ö™ü, ÁÖß ¿ÖÓÛãúÛúÖ,³Ö¼ü®ÖÖµÖÛú, (C) ®ÖÖî™ÓüÛúß †×³Ö®Ö¾ÖÝÖã¯ŸÖ (D) Æü×¸ü¾ÖÓ¿Ö 49. ×¾ÖÂÖ´Ö ÛúÖê ×“Ö×Å®ÖŸÖ Ûúß×•Ö‹ : 46. -I -II ÃÖæ“Öß ÃÖê ÃÖæ“Öß ÛúÖ ×´Ö»ÖÖ®Ö Ûúß×•Ö‹ : (A) ¿ÖÖ¸ü¤üÖŸÖ®ÖµÖÖ ÛúÖ ³ÖÖ¾Ö¯ÖÏÛúÖ¿Ö®Ö -I -II ÃÖæ“Öß ÃÖæ“Öß (B) ®ÖÓ¤üßÛêú¿Ö¾Ö¸üÖ ÛúÖ ¬¾Ö×®Ö ×ÃÖ¨üÖÓŸÖ a. “ÖÖˆ i. ÝÖã•Ö¸üÖŸÖ (C) ¯ÖÖ×ÞÖ×®Ö ÛúÖ †Â™üÖ¬µÖÖµÖß b. µÖõÖÝÖÞÖ ii. Ûú®ÖÖÔ™üÛú (D) ÛúÖî×™ü»µÖ ÛúÖ †£ÖÔ¿ÖÖÃ¡Ö c. ³Ö¾ÖÖ‡Ô iii. ¯ÖãÙ»ÖµÖÖ

d. †ÖÓ×ÛúµÖÖ®ÖÖ™ü iv. †ÃÖ´Ö 50. ³Ö¸üŸÖ´Öã×®Ö ®Öê ¾Öé×¢ÖµÖÖë Ûúß ²ÖÖŸÖ Ûúß Æîü … Ûæú™ü : ×®Ö´®Ö×»Ö×ÜÖŸÖ ´Öë ÃÖê ¾ÖÆü ¾Öé×¢Ö ÛúÖî®Ö ÃÖß Æîü ? a b c d (A) ¯ÖÓ“ÖÖ×»Ö (A) i ii iii iv (B) ¯ÖÏ¾Öê¿ÖÛú (B) ii iii iv i (C) Ûîú×¿ÖÛúß (C) iii ii i iv (D) iv iii ii i (D) †Öê¦ü´ÖÝ¬Öß J-65-14 13 Paper-III PART – II DANCE

51. John cage worked with 57. Identify the correct sequence from (A) Merce Cunningham North to South : (A) Guruvayoor, Kuchipudi, (B) Pina Bausch Chidambaram, Brajabhumi (C) Alexander Cartier (B) Brajabhumi, Kuchipudi, (D) Alwin Ailey Chidambaram, Guruvayoor 52. The Avant Garde dance form is (C) Chidambaram, Guruvayoor, (A) Polka (B) Ballet Kuchipudi, Brajabhumi (C) Butoh (D) Peking opera (D) Brajabhumi, Kuchipudi, Guruvayoor, Chidambaram 53. Identify the correctly matched : 58. Assertion (A) : Hastamudras of all (A) Serpentine – Ruth St. Denis dances are inspired from the Dance Abhinayadarpanam. (B) Man and – Sachin Shankar Reason (R) : Abhinayadarpanam Machine describes Hastamudras in details. (C) Dance – Ananya Codes : Matters Chatterjea (A) (A) is correct, (R) is wrong. (D) Ode to – Judith Bell (B) (A) is wrong, (R) is correct. Freedom (C) Both (A) & (R) are wrong. (D) Both (A) & (R) are correct. 54. Match the following : 59. Pick the odd one out : List – I List – II (A) Natyashastra a. Parikhanda i. Lyrical Dance (B) Shilpadikaram b. Mohiniattam ii. Odissi (C) Mansollasa c. Kathak iii. Chhau (D) Nartan Nirnay d. Moksha iv. Adi kathak 60. Identify the ascending order of matras : Codes : (A) Tanchap, Dadra, Adi, Khanda a b c d Chapu (A) iii i iv ii (B) Dadra, Tanchap, Khanda (B) ii i iii iv Chapu, Adi (C) i iv ii iii (C) Adi, Khanda chapu, Tanchap, (D) iv ii i iii Dadra (D) Dadra, Adi, Khanda Chapu, 55. Pick the odd one out : Tanchap (A) Madhuri – Zhalak Dikh la 61. Which is the famous folk art institution ? Dikshit Jaa (A) Rastriya Manav Vikas (B) Shaimak – Dance Young Sangrahalaya, Bhopal Dawar India (B) Lok-kala Kendra, Udaipur (C) Vaibhavi – Aja Nachale (C) Dillihat, Delhi Merchant (D) Surajkunda (D) Remo – Dance India 62. The company Denishawn was D’souza Dance established in (A) New York (B) Los Angeles 56. Match the following : (C) Texas (D) Paris List – I List – II 63. Match the following : List – I List – II a. Santhal i. Bamboo a. Margam i. Acharya Parvati b. Raibenshe ii. Bells Kumar c. Kavdi- iii. Feet b. Abhinaya ii. Anita Ratnam Kargham Movements Darpana d. Seleimattam iv. Hanging pots c. Kalpana iii. Tanjore Quartet d. Nartaki.com iv. Uday Shankar Codes : Codes : a b c d a b c d (A) iii i iv ii (A) iv iii ii i (B) iii iv ii i (B) iii iv i ii (C) i ii iii iv (C) iii i iv ii (D) ii iii i iv (D) i ii iv iii Paper-III 14 J-65-14 PART – II

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51. •ÖÖÆü®Ö Ûêú•Ö ®Öê ______Ûêú ÃÖÖ£Ö ÛúÖµÖÔ ×ÛúµÖÖ … 57. ˆ¢Ö¸ü ÃÖê ¤ü×õÖÞÖ Ûêú †Ö¬ÖÖ¸ü ¯Ö¸ü ÃÖÆüß ÛÎú´Ö Ûúß (A) ´ÖÃÖÔ Ûú®ÖàÝÖÆüÖ´ÖË ¯ÖÆü“ÖÖ®Ö Ûúß×•Ö‹ : (B) ¯Öß®ÖÖ ²ÖÖˆ¿Ö (A) ÝÖã¹ý¾ÖÖµÖã¸ü, Ûãú“Öß¯Öã›üß, ×“Ö¤Óü²Ö¸ü´ÖË, ²ÖÎ•Ö³Öæ×´Ö (C) ‹»ÖêÛú—ÖÖ®›ü¸ü ÛúÖ™üá†¸ü (B) ²ÖÎ•Ö³Öæ×´Ö, Ûãú“Öß¯Öã›üß, ×“Ö¤Óü²Ö¸ü´ÖË, ÝÖã¹ý¾ÖÖµÖã¸ü (D) †Ö»¾Öß®Ö ‹ê»Öß (C) ×“Ö¤Óü²Ö¸ü´ÖË, ÝÖã¹ý¾ÖÖµÖã¸ü, Ûãú“Öß¯Öã›üß, ²ÖÎ•Ö³Öæ×´Ö (D) ²ÖÎ•Ö³Öæ×´Ö, Ûãú“Öß¯Öã›üß, ÝÖã¹ý¾ÖÖµÖã¸ü, ×“Ö¤Óü²Ö¸ü´ÖË 52. †¾Ö®ŸÖ ÝÖÖ¸ü›êü ®ÖéŸµÖ ºþ¯Ö Æîü : 58. †×³ÖÛú£Ö®Ö (A) : ®ÖéŸµÖ Ûúß ÃÖ³Öß ÆüÃŸÖ ´Öã¦üÖ‹Ñ (A) ¯ÖÖê»ÛúÖ (B) ²Öê»Öê †×³Ö®ÖµÖ ¤ü¯ÖÔÞÖ´ÖË «üÖ¸üÖ ¯ÖÏê×¸üŸÖ Æïü … (C) ²Öã™üÖêÆü (D) ¯ÖßÛúàÝÖ †Öê¯Öê¸üÖ ŸÖÛÔú (R) : †×³Ö®ÖµÖ ¤ü¯ÖÔÞÖ´ÖË ´Öë ÆüÃŸÖ ´Öã¦üÖ†Öë ÛúÖ

53. ÃÖÆüß µÖã×Ý´ÖŸÖ Ûúß ¯ÖÆü“ÖÖ®Ö Ûúß×•Ö‹ : ×¾ÖÃŸÖÖ¸ü ÃÖê ¾ÖÞÖÔ®Ö Æîü … (A) ÃÖÙ¯Ö»Ö (ÃÖ¸ü¯Öî®™üÖ‡®Ö) ›üÖ®ÃÖ – ¹ý£Ö ÃÖë™ü ›êü×®ÖÃÖ Ûæú™ü : (A) (A) ÃÖÆüß Æîü, (R) ÝÖ»ÖŸÖ Æîü … (B) ´Öî®Ö ‹Þ›ü ´Ö¿Öß®Ö – ÃÖ×“Ö®Ö ¿ÖÓÛú¸ü (B) (A) ÝÖ»ÖŸÖ Æîü, (R) ÃÖÆüß Æîü … (C) ›üÖÓÃÖ ´Öî™ü´ÖÔ - †®Ö®µÖ “Öî™ü¸ü×•ÖµÖÖ (C) (A) †Öî¸ü (R) ¤üÖê®ÖÖë ÝÖ»ÖŸÖ Æïü … (D) †Öê›ü ™ãü ±Ïúß›ü´Ö - •Öæ×›ü£Ö ²Öê»Ö (D) (A) †Öî¸ü (R) ¤üÖê®ÖÖë ÃÖÆüß Æïü …

54. ×®Ö´®Ö×»Ö×ÜÖŸÖ ÛúÖê ÃÖã´Öê×»ÖŸÖ Ûúß×•Ö‹ : 59. ×¾ÖÂÖ´Ö ÛúÖ “ÖµÖ®Ö Ûúß×•Ö‹ : ÃÖæ“Öß -I ÃÖæ“Öß -II (A) ®ÖÖ™Ëü¿ÖÖÃ¡Ö (B) ×¿Ö»Ö¯Ö¤üßÛúÖ¸ü´ÖË (C) ´ÖÖ®ÖÃÖÖê»»ÖÖÃÖ (D) ®ÖŸÖÔ®Ö×®ÖÞÖÔµÖ a. ¯Ö×¸üÜÖ®›üÖ i. »ÖÖ‡×¸üÛú»Ö ›üÖ®ÃÖ b. ´ÖÖê×Æü®Öß†Ö¼ü´Ö ii. †Öê›üßÃÖß 60. †Ö¸üÖêÆüßÛÎú´Ö ´Öë ´ÖÖ¡ÖÖ†Öë Ûêú ÃÖÆüß ÛÎú´Ö ÛúÖ “ÖµÖ®Ö c. Ûú£ÖÛú iii. ”ûÖˆ Ûúß×•Ö‹ :

d. ´ÖÖêõÖ iv. †Ö×¤üÛú£ÖÛú (A) ŸÖÖ®Ö”ûÖ¯Ö, ¤üÖ¤ü¸üÖ, †Ö×¤ü, ÜÖÓ›ü “ÖÖ¯Öã (B) ¤üÖ¤ü¸üÖ, ŸÖÖ®Ö”ûÖ¯Ö, ÜÖÓ›ü “ÖÖ¯Öã, †Ö×¤ü Ûæú™ü : (C) †Ö×¤ü, ÜÖÓ›ü “ÖÖ¯Öã, ŸÖÖ®Ö”ûÖ¯Ö, ¤üÖ¤ü¸üÖ a b c d (D) ¤üÖ¤ü¸üÖ, †Ö×¤ü, ÜÖÓ›ü “ÖÖ¯Öã, ŸÖÖ®Ö”ûÖ¯Ö (A) iii i iv ii (B) ii i iii iv 61. ×®Ö´®Ö×»Ö×ÜÖŸÖ ´Öë ÃÖê ÛúÖî®Ö ÃÖß ¯ÖÏ×ÃÖ¨ü »ÖÖêÛú Ûú»ÖÖ (C) i iv ii iii ÃÖÓÃ£ÖÖ Æîü ? (D) iv ii i iii (A) ¸üÖÂ™ÒüßµÖ ´ÖÖ®Ö¾Ö ×¾ÖÛúÖÃÖ ÃÖÓÝÖÏÆüÖ»ÖµÖ, ³ÖÖê¯ÖÖ»Ö 55. ×¾ÖÂÖ´Ö ÛúÖê “Öã×®Ö‹ : (B) »ÖÖêÛú Ûú»ÖÖ Ûëú¦ü, ˆ¤üµÖ¯Öã¸ü (A) ´ÖÖ¬Öã¸üß ¤üß×õÖŸÖ - —Ö»ÖÛú ×¤üÜÖ»ÖÖ •ÖÖ (C) ×¤ü»»Öß ÆüÖ™ü, ×¤ü»»Öß (D) ÃÖæ¸ü•ÖÛãúÞ›ü (B) ¿Öî´ÖÛú ›üÖ¾Ö¸ü - ›üÖÓÃÖ µÖÓÝÖ ‡×Þ›üµÖÖ (C) ¾Öî³Ö¾Öß ´Ö“Öí™ü - †Ö•ÖÖ ®Ö“Ö»Öê 62. ¤Ëü Ûú´¯Ö®Öß ›êü®Öß¿ÖÖ®Ö Ûúß Ã£ÖÖ¯Ö®ÖÖ ÛúÆüÖÑ Æãü‡Ô ? (A) ®µÖæµÖÖÛÔú (B) »ÖÖòÃÖ ‹Ó×•Ö×»ÖÃÖ (D) ¸êü´ÖÖê ›üß ÃÖæ•ÖÖ - ›üÖÓÃÖ ‡×Þ›üµÖÖ ›üÖÓÃÖ (C) ™îüŒÃÖÖÃÖ (D) ¯Öê×¸üÃÖ

56. ×®Ö´®Ö×»Ö×ÜÖŸÖ ÛúÖê ÃÖã´Öê×»ÖŸÖ Ûúß×•Ö‹ : 63. ×®Ö´®Ö×»Ö×ÜÖŸÖ ÛúÖê ÃÖã´Öê×»ÖŸÖ Ûúß×•Ö‹ : ÃÖæ“Öß -I ÃÖæ“Öß -II ÃÖæ“Öß -I ÃÖæ“Öß -II a. ÃÖÓ£ÖÖ»Ö i. ²ÖÖÓÃÖ a. ´Ö¸üÝÖ´Ö i. †Ö“ÖÖµÖÔ ¯ÖÖ¾ÖÔŸÖß Ûãú´ÖÖ¸ü b. ¸üÖµÖ²Öê®Ö¿Öê ii. ‘Ö×Þ™üµÖÖÑ b. †×³Ö®ÖµÖ ¤ü¯ÖÔÞÖ ii. †®ÖßŸÖÖ ¸üŸ®Ö´ÖË c. ÛúÖ¾Ö›Ìüß-Ûú¸ü‘Ö´Ö iii. ¯Ö¤üÝÖ×ŸÖ c. Ûú»¯Ö®ÖÖ iii. ŸÖÓ•ÖÖê¸ü “ÖŸÖãÂÛú d. ÃÖê×»Ö´Ö¼ü´Ö iv. »Ö™üÛúŸÖê ¯ÖÖ¡Ö d. ®ÖŸÖÔÛúß.ÛúÖò´Ö iv. ˆ¤üµÖ ¿ÖÓÛú¸ü Ûæú™ü : Ûæú™ü : a b c d a b c d (A) iii i iv ii (A) iv iii ii i (B) iii iv ii i (B) iii iv i ii (C) i ii iii iv (C) iii i iv ii (D) ii iii i iv (D) i ii iv iii J-65-14 15 Paper-III 64. Pick the odd one out : 70. Pick the odd one out : (A) Pina Bausch (A) Viji Prakash (B) Ranjavati Sarkar (B) Mythali Prakash (C) Bharat Sharma (C) Menaka Thakkar (D) Sujata Mohanti (D) Daksha Seth 71. When did Sattriya Nritya of Assam 65. Assertion (A) : Both Manipuri and receive recognition as one of the Sattriya dances give eight classical dance forms of India ? importance to Krishna. (A) 2000 (B) 2010 Reason (R) : Both are based on (C) 1998 (D) 2003 Vaishnava religion. Codes : 72. Put in the correct sequence of age : (A) Padma Subrhmaniam, Bharati (A) (A) is correct, (R) is wrong. Shivaji, Malavika Surukai, Aditi (B) (A) is wrong, (R) is correct. Mangaldas (C) Both (A) and (R) are wrong. (B) Bharati Shivaji, Malavika (D) Both (A) and (R) are correct. Surukai, Padma Subrahmaniam, Aditi Mangaldas 66. Match the following : (C) Padma Subrahmaniam, List – I List – II Malavika Surukai, Bharati a. Khol i. Tamil Nadu Shivaji, Aditi Mangaldas b. Pung ii. Manipur (D) Padma Subrahmaniam, Aditi c. Tabla iii. Bengal Mangaldas, Bharati Shivaji, d. Mridangam iv. Uttar Pradesh Malavika Surukai

Codes : 73. Who is awarded the SNA fellowship a b c d this year ? (A) i ii iii iv (A) Smt. Charu Singh (B) iii ii iv i (B) Smt. Darshana Zaveri (C) ii i iii iv (C) Smt. Indira Bora (D) iv iii ii i (D) None of above

67. Which of the following writer, has 74. Assertion (A) : In Performing Arts worked extensively on Sanskrit there was vital Indian tradition treaties of Dance ? of questioning in order to attain (A) Dr. V. Raghavan knowledge. (B) Dr. Mandakranta Bose Reason (R) : Widespread (C) Dr. Pappu Vinayak Rao illiteracy amongst Indian artist (D) Dr. Karl Khandalawala clans, trapped socially and politically, did not allow the 68. Assertion (A) : Throughout the 19 th freedom of thought. and 20 th centuries, Berlin provided Codes : fertile ground for an amazing (A) (A) is true, (R) is false. dialogue with other cultures. (B) Both (A) and (R) are false. Reason (R) : The Nazi regime (C) (A) is false, (R) is true. encouraged and supported the (D) Both (A) and (R) are true.

visiting artists. 75. Match the following : Codes : List – I List – II (A) (A) is true, (R) is false. a. Nut cracker i. Spanish (B) Both (A) and (R) are true. b. Sarpa sutra ii. Ballet (C) Both (A) and (R) are false. c. Flemenco iii. Justus Repertory (D) (A) is false, (R) is true. d. Jazz iv. American Codes : 69. The Ellora caves are famous for a b c d (A) Shiva Sculptures (A) ii iii i iv (B) Kailash Monolith Temple (B) ii i iv iii (C) Tandava panels (C) i iv ii iii (D) Bhairava Sculpture (D) iii ii i iv Paper-III 16 J-65-14 64. ×¾ÖÂÖ´Ö ÛúÖ “ÖµÖ®Ö Ûúß×•Ö‹ : 70. ×®Ö´®Ö×»Ö×ÜÖŸÖ ´Öë ÃÖê ×¾ÖÂÖ´Ö ÛúÖ “ÖµÖ®Ö Ûúß×•Ö‹ : (A) ¯Öß®ÖÖ ²ÖÖˆ¿Ö (B) ¸Óü•Ö¾ÖŸÖß ÃÖ¸üÛúÖ¸ü (A) ×¾Ö×•Ö ¯ÖÏÛúÖ¿Ö (B) ´Öî£Ö»Öß ¯ÖÏÛúÖ¿Ö (C) ³Ö¸üŸÖ ¿Ö´ÖÖÔ (D) ¤üõÖÖ ÃÖêšü (C) ´Öê®ÖÛúÖ šüŒÛú¸ü (D) ÃÖã•ÖÖŸÖÖ ´ÖÖêÆü®ŸÖß

65. †×³ÖÛú£Ö®Ö (A) : ´Ö×ÞÖ¯Öã¸ü ‹¾ÖÓ ÃÖ¢Ö¸üßµÖ ®ÖéŸµÖ 71. †ÃÖ´Ö Ûêú ÃÖ¢Ö¸üßµÖ ®ÖéŸµÖ ÛúÖê ³ÖÖ¸üŸÖ Ûêú †Öšü ¤üÖê®ÖÖë ÛéúÂÞÖ ÛúÖê ´ÖÆü¢¾Ö ¯ÖÏ¤üÖ®Ö Ûú¸üŸÖê Æïü … ¿ÖÖÃ¡ÖßµÖ ®ÖéŸµÖ ºþ¯ÖÖë ´Öë ¯ÖÆü“ÖÖ®Ö ×ÛúÃÖ ¾ÖÂÖÔ ×´Ö»Öß ? ŸÖÛÔú (R) : ¤üÖê®ÖÖë ®ÖéŸµÖ ¾ÖîÂÞÖ¾Ö ¬Ö´ÖÔ ¯Ö¸ü †Ö¬ÖÖ×¸üŸÖ (A) 2000 (B) 2010 Æïü … (C) 1998 (D) 2003 Ûæú™ü : (A) (A) ÃÖÆüß Æîü, (R) ÝÖ»ÖŸÖ Æîü … 72. †ÖµÖã Ûêú ÃÖÆüß ÛÎú´Ö ´Öë ¸ü×ÜÖ‹ : (B) (R) ÃÖÆüß Æîü, (A) ÝÖ»ÖŸÖ Æîü … (A) ¯Ö¤Ëü´ÖÖ ÃÖã²ÖÎ´ÖÞµÖ´ÖË, ³ÖÖ¸üŸÖß ×¿Ö¾ÖÖ•Öß, (C) (A) †Öî¸ü (R) ¤üÖê®ÖÖë ÝÖ»ÖŸÖ Æïü … ´ÖÖ»Ö×¾ÖÛúÖ ÃÖã¹ýÛúÖ‡Ô, †×¤ü×ŸÖ ´ÖÓÝÖ»Ö¤üÖÃÖ (D) (A) †Öî¸ü (R) ¤üÖê®ÖÖë ÃÖÆüß Æïü … (B) ³ÖÖ¸üŸÖß ×¿Ö¾ÖÖ•Öß, ´ÖÖ»Ö×¾ÖÛúÖ ÃÖã¹ýÛúÖ‡Ô, ¯Ö¤Ëü´ÖÖ ÃÖã²ÖÎ´ÖÞµÖ´ÖË, †×¤ü×ŸÖ ´ÖÓÝÖ»Ö¤üÖÃÖ 66. ×®Ö´®Ö×»Ö×ÜÖŸÖ ÛúÖê ÃÖã´Öê×»ÖŸÖ Ûúß×•Ö‹ : (C) ¯Ö¤Ëü´ÖÖ ÃÖã²ÖÎ´ÖÞµÖ´ÖË, ´ÖÖ»Ö×¾ÖÛúÖ ÃÖã¹ýÛúÖ‡Ô, ÃÖæ“Öß -I ÃÖæ“Öß -II ³ÖÖ¸üŸÖß ×¿Ö¾ÖÖ•Öß, †×¤ü×ŸÖ ´ÖÓÝÖ»Ö¤üÖÃÖ a. ÜÖÖê»Ö i. ŸÖ×´Ö»Ö®ÖÖ›æü (D) ¯Ö¤Ëü´ÖÖ ÃÖã²ÖÎ´ÖÞµÖ´ÖË, †×¤ü×ŸÖ ´ÖÓÝÖ»Ö¤üÖÃÖ, b. ¯ÖãÓÝÖ ii. ´Ö×ÞÖ¯Öã¸ü ³ÖÖ¸üŸÖß ×¿Ö¾ÖÖ•Öß, ´ÖÖ»Ö×¾ÖÛúÖ ÃÖã¹ýÛúÖ‡Ô c. ŸÖ²Ö»ÖÖ iii. ²ÖÓÝÖÖ»Ö d. ´Öé¤ÓüÝÖ iv. ˆ¢Ö¸ü ¯ÖÏ¤êü¿Ö 73. ‡ÃÖ ¾ÖÂÖÔ ÃÖÓÝÖßŸÖ®ÖÖ™üÛú †ÛúÖ¤ü´Öß ÛúÖ ¯Öã¸üÃÛúÖ¸ü Ûæú™ü : ×®Ö´®Ö ´Öë ÃÖê ×ÛúÃÖÛúÖê ×´Ö»ÖÖ Æîü ? a b c d (A) ÁÖß´ÖŸÖß “ÖÖ¹ý ØÃÖ‘Ö (A) i ii iii iv (B) ÁÖß´ÖŸÖß ¤ü¿ÖÔ®ÖÖ —Ö¾Öê¸üß (B) iii ii iv i (C) ÁÖß´ÖŸÖß ‡Ó×¤ü¸üÖ ²ÖÖê¸üÖ (D) ˆ¯ÖµÖãÔŒŸÖ ´Öë ÃÖê ÛúÖê‡Ô ®ÖÆüà (C) ii i iii iv (D) iv iii ii i 74. †×³ÖÛú£Ö®Ö (A) : ´ÖÓ“ÖßµÖ Ûú»ÖÖ†Öë ´Öë –ÖÖ®Ö ¯ÖÏÖ×¯ŸÖ Ûêú ×»Ö‹ ³ÖÖ¸üŸÖ ´Öë ¯ÖÏ¿®Ö ¯Öæ”û®Öê Ûúß 67. ×®Ö´®Ö×»Ö×ÜÖŸÖ ´Öë ÃÖê ×ÛúÃÖ »ÖêÜÖÛú ®Öê ×¾ÖÃŸÖéŸÖ ºþ¯Ö ¯Ö¸Óü¯Ö¸üÖ ¸üÆüß Æîü … ÃÖê ÃÖÓÃÛéúŸÖ Ûêú ®ÖéŸµÖ ¯ÖÏ²Ö®¬ÖÖë ¯Ö¸ü ÛúÖµÖÔ ×ÛúµÖÖ Æîü ? ŸÖÛÔú (R) : ³ÖÖ¸üŸÖßµÖ Ûú»ÖÖÛúÖ¸üÖë Ûêú Ûãú»ÖÖë ´Öë (A) ›üÖò. ¾Öß. ¸üÖ‘Ö¾Ö®Ö †×¿ÖõÖÖ ¾µÖÖ¯ŸÖ £Öß, ¾Öê ÃÖÖ´ÖÖ×•ÖÛú †Öî¸ü (B) ›üÖò. ´ÖÞ›üÛÎúÖ®ŸÖ ²ÖÖêÃÖ ¸üÖ•Ö®Öß×ŸÖÛú ºþ¯Ö ÃÖê ‡ÃÖ ¯ÖÏÛúÖ¸ü •ÖÛú›Ìêü Æãü‹ £Öê (C) ›üÖò. ¯Ö¯¯Öæ ×¾Ö®ÖÖµÖÛú ¸üÖ¾Ö ×Ûú ˆ®Æëü ×¾Ö“ÖÖ¸üÖë Ûúß Ã¾ÖŸÖÓ¡ÖŸÖÖ ®ÖÆüà £Öß … (D) ›üÖò. ÛúÖ»ÖÔ ÜÖÞ›üÖ»ÖÖ¾ÖÖ»ÖÖ Ûæú™ü : 68. †×³ÖÛú£Ö®Ö (A) : ÃÖ´ÖÃŸÖ 19¾Öà ‹¾ÖÓ 20¾Öà (A) (A) ÃÖÆüß Æîü, (R) ÝÖ»ÖŸÖ Æîü … ¿ÖŸÖÖ×²¤üµÖÖë ´Öë ²ÖÙ»Ö®Ö ®Öê †®µÖ ÃÖÓÃÛéú×ŸÖµÖÖë (B) (A) †Öî¸ü (R) ¤üÖê®ÖÖë ÝÖ»ÖŸÖ Æïü … Ûêú ÃÖÖ£Ö †®Öæšêü ÃÖÓ¾ÖÖ¤ü Ûêú ×»Ö‹ ÃÖÖ£ÖÔÛú (C) (A) ÝÖ»ÖŸÖ Æîü, (R) ÃÖÆüß Æîü … ¬Ö¸üÖŸÖ»Ö ¯ÖÏ¤üÖ®Ö ×ÛúµÖÖ … (D) (A) †Öî¸ü (R) ¤üÖê®ÖÖë ÃÖÆüß Æïü …

ŸÖÛÔú (R) : ®ÖÖ•ÖÌß ¸üÖ•µÖ ®Öê †ÖÝÖ®ŸÖãÛú Ûú»ÖÖÛúÖ¸üÖë 75. ÃÖæ“Öß -I ÃÖê ÃÖæ“Öß -II ÛúÖ ×´Ö»ÖÖ®Ö Ûúß×•Ö‹ : ÛúÖê ˆŸÃÖÖ×ÆüŸÖ ‹¾ÖÓ ÃÖÆüÖµÖŸÖÖ Ûúß … ÃÖæ“Öß -I ÃÖæ“Öß -II Ûæú™ü : a. ®Ö™üÛÎêúÛú¸ü i. Ã¯Öê®Öß¿Ö (A) (A) ÃÖÆüß Æîü, (R) ÝÖ»ÖŸÖ Æîü … b. ÃÖ¯ÖÔÃÖæ¡Ö ii. ²Öê»Öê (B) (A) †Öî¸ü (R) ¤üÖê®ÖÖë ÃÖÆüß Æïü … c. °»Öê´ÖëÛúÖê iii. •ÖÃ™üÃÖ ÃÖÓÝÖÏÆü (C) (A) †Öî¸ü (R) ¤üÖê®ÖÖë ÝÖ»ÖŸÖ Æïü … d. •ÖÌÖ—Ö iv. †´Öê×¸üÛú®Ö (D) (A) ÝÖ»ÖŸÖ Æîü, (R) ÃÖÆüß Æîü … Ûæú™ü : a b c d 69. ‹»ÖÖê¸üÖ Ûúß ÝÖã±úÖ‹Ñ ×®Ö´®Ö×»Ö×ÜÖŸÖ Ûêú ×»Ö‹ ¯ÖÏ×ÃÖ¨ü Æïü : (A) ii iii i iv

(A) ×¿Ö¾Ö ´ÖæÙŸÖµÖÖÑ (B) ii i iv iii (B) Ûîú»ÖÖ¿Ö ‹ÛúÖ¿´ÖÛú ´ÖÓ×¤ü¸ü (C) i iv ii iii (C) ŸÖÖÞ›ü¾Ö ÀÖéÓÜÖ»ÖÖ (D) iii ii i iv (D) ³Öî¸ü¾Ö Ûúß ´ÖæÙŸÖ J-65-14 17 Paper-III PART – III DRAMA/THEATRE

51. Match the following : 54. Pick the odd one out : List – I List – II (A) Henrik – When We a. Chandra- i. Chanakya Ibsen Dead Awaken sekhar Vishnugupta (B) Tom – Night and Day Kambar Stoppard (C) Eugene – The Killer b. Bijon ii. Jokumaraswami Ionesco Bhattacharya (D) Dario Fo – Tonight We c. Girish iii. Nabanna Improvise Karnad d. G.P. iv. Yayati 55. A serious and subtle dance drama Deshpande that evolved in Japan in the 14 th Codes : century out of earlier songs, dances a b c d and sketches : ō (A) ii iii iv i (A) Bunraku (B) N h (C) Kabuki (D) Ky ōgen (B) i iv iii ii

(C) iii ii i iv 56. Match the items in List – I with the (D) iv i ii iii items in List – II : List – I List – II 52. Assertion (A) : Bengali Playwright a. Noh Theatre i. Puppet theatre and director Badal Sircar had b. Kabuki Drama ii. Mask developed his own aesthetics c. Bunraku iii. Acrobatic and philosophy of Third d. Peking Opera iv. Hanamichi Theatre. Codes : Reason (R) : He wanted to seek a b c d lesser intimacy between actors (A) iv iii ii i and spectators. (B) iii i iv ii Codes : (C) i ii iii iv (A) Both (A) and (R) are true. (D) ii iv i iii (B) (A) is true, (R) is false. 57. Assertion (A) : In the presentation (C) (A) is false, (R) is true. of “Ghashiram Kotwal”, the (D) Both (A) and (R) are false. director, Jabbar Patel introduced

the chorus in the form of human 53. Give the correct sequence of the curtain as a device for entry and following playwrights : exist of actors. (A) Bertolt Brecht, Harold Pinter, Reason (R) : The director, Henrik Ibsen, Samuel Beckett followed the arrangement of (B) Henrik Ibsen, Bertolt Brecht, Greek chorus in this production. Samuel Beckett, Harold Pinter Codes : (C) Samuel Beckett, Henrik Ibsen, (A) Both (A) and (R) are true. Harold Pinter, Bertolt Brecht (B) Both (A) and (R) are false. (D) Herold Pinter, Samuel Beckett, (C) (A) is true, (R) is false. Bertolt Brecht, Henrik Ibsen (D) (A) is false, (R) is true. Paper-III 18 J-65-14 PART – III

®ÖÖ™üÛú / ¸ÓüÝÖ´ÖÓ“Ö

51. ×®Ö´®Ö×»Ö×ÜÖŸÖ ÛúÖê ÃÖã´Öê×»ÖŸÖ Ûúß×•Ö‹ : 54. ×¾ÖÂÖ´Ö ÛúÖê “Öã×®Ö‹ : ÃÖæ“Öß -I ÃÖæ“Öß -II (A) Æêü®Ö×¸üÛú ‡²ÃÖ®Ö - ¾Æêü®Ö ¾Öß ›êü›ü †¾ÖêÛú®Ö a. “Ö®¦ü¿ÖêÜÖ¸ü Ûú´²ÖÖ¸ü i. “ÖÖÞÖŒµÖ (B) ™üÖò´Ö Ã™üÖê¯¯ÖÖ›Ôü - ®ÖÖ‡™ü ‹Ó›ü ›êü ×¾ÖÂÞÖãÝÖã¯ŸÖ (C) µÖã×•Ö®Ö †ÖµÖÖê®ÖêÃÛúÖê - ¤Ëü ×Ûú»Ö¸üü b. ×²Ö•ÖÖê®Ö ³Ö¼üÖ“ÖÖµÖÔ ii. •ÖÖêÛãú´ÖÖ¸üÃ¾ÖÖ´Öß (D) ›üÖ×¸üµÖ ±úÖê - ™ãü®ÖÖ‡™ü ¾Öß ‡´¯ÖÏÖê¾ÖÖ‡•ÖÌ c. ×ÝÖ¸üß¿Ö Ûú®ÖÖÔ›ü iii. ®Ö²Ö®®ÖÖ d. •Öß.¯Öß. ¤êü¿Ö¯ÖÖÓ›êü iv. µÖµÖÖŸÖß 55. •ÖÖ¯ÖÖ®Ö ´Öë, 14¾Öà ¿ÖŸÖÖ²¤üß ´Öë, ¯ÖÏÖ¸ü×´³ÖÛú ÝÖßŸÖÖë, Ûæú™ü : ®ÖéŸµÖÖë †Öî¸ü ¸êüÜÖÖ×“Ö¡ÖÖë ÃÖê ÝÖ´³Öß¸ü ‹¾ÖÓ ÃÖæõ´Ö ®ÖÖ™üÛú a b c d ÛúÖ ÛÎú×´ÖÛú ×¾ÖÛúÖÃÖ Æãü†Ö, ¾ÖÆü Æîü : (A) ii iii iv i (A) ²Öã®Ö¸üÖÛãú (B) i iv iii ii (B) ®ÖÖîÆü (C) iii ii i iv (D) iv i ii iii (C) ÛúÖ²ÖãÛúß (D) ŒµÖÖê×•Ö®Ö

52. (A) : ²ÖÓÝ»ÖÖ ®ÖÖ™üÛúÛúÖ¸ü †Öî¸ü †×³ÖÛú£Ö®Ö 56. ÃÖæ“Öß -I ÛúÖê ÃÖæ“Öß -II ÃÖê ÃÖã´Öê×»ÖŸÖ Ûúß×•Ö‹ : ×®Ö¤ìü¿ÖÛú ²ÖÖ¤ü»Ö ÃÖ¸üÛúÖ¸ü ®Öê ŸÖéŸÖßµÖ ×£Ö‹™ü¸ü ÃÖæ“Öß -I ÃÖæ“Öß -II Ûêú ×»Ö‹ †¯Ö®Öê ×®Ö•Öß ÃÖÖï¤üµÖÔ ²ÖÖê¬Ö †Öî¸ü a. ®ÖÖêÆü ×£Ö‹™ü¸ü i. ¯Ö¯Öê™ü ×£Ö‹™ü¸ü

¤ü¿ÖÔ®Ö ÛúÖ ×¾ÖÛúÖÃÖ ×ÛúµÖÖ Æîü … b. ÛúÖ²ÖãÛúß ®ÖÖ™üÛú ii. ´ÖãÜÖÖî™üÖ ŸÖÛÔú (R) : ˆ®ÆüÖë®Öê †×³Ö®ÖêŸÖÖ†Öë †Öî¸ü ¤ü¿ÖÔÛúÖë Ûêú c. ²Öã®Ö¸üÖÛãú iii. ‹ÛÎúÖê²Öê×™üÛú ²Öß“Ö Ûú´Ö †ÖŸ´ÖßµÖŸÖÖ Ûúß ŸÖ»ÖÖ¿Ö Ûú¸ü®ÖÖ d. ¯ÖêØÛúÝÖ †Öê¯Öê¸üÖ iv. Æü®ÖÖ×´Ö×“Ö “ÖÖÆüÖ … Ûæú™ü : Ûæú™ü : a b c d (A) (A) †Öî¸ü (R) ¤üÖê®ÖÖë ÃÖÆüß Æïü … (A) iv iii ii i (B) iii i iv ii (B) (A) , (R) ÃÖÆüß Æîü ÝÖ»ÖŸÖ Æîü … (C) i ii iii iv (C) (A) ÝÖ»ÖŸÖ Æîü, (R) ÃÖÆüß Æîü … (D) ii iv i iii (D) (A) †Öî¸ü (R) ¤üÖê®ÖÖë ÝÖ»ÖŸÖ Æïü … 57. †×³ÖÛú£Ö®Ö (A) : “ ‘ÖÖÃÖß¸üÖ´Ö ÛúÖêŸÖ¾ÖÖ»Ö ” Ûúß ¯ÖÏÃŸÖã×ŸÖ ´Öë ×®Ö¤ìü¿ÖÛú, •Ö²²Ö¸ü ¯Ö™êü»Ö ®Öê 53. ×®Ö´®Ö×»Ö×ÜÖŸÖ ®ÖÖ™üÛúÛúÖ¸üÖë Ûêú ÛÎú´ÖÖë ´Öë ÃÖê ÃÖÆüß ºþ¯Ö †×³Ö®ÖêŸÖÖ†Öë Ûêú †ÖÝÖ´Ö®Ö †Öî¸ü ¯ÖÏÃ£ÖÖ®Ö ÃÖê ¾µÖ¾Ö×Ã£ÖŸÖ ÛÎú´Ö ÛúÖ “ÖµÖ®Ö Ûúß×•Ö‹ : ÆêüŸÖã ´ÖÖ®Ö¾Ö ³Ö¾Ö×®ÖÛúÖ Ûêú ºþ¯Ö ´Öë ÛúÖê¸üÃÖ (A) ²Ö™üÖì»™ ü²ÖÎêÜŸÖ, Æü¸üÖê»›ü Ø¯Ö™ü¸ü, Æêü®Ö×¸üÛú ÛúÖê ¯ÖÏÃŸÖãŸÖ ×ÛúµÖÖ Æîü … ‡²ÃÖ®Ö, ÃÖê´Öã†»Ö ²ÖêÛêú™ü ŸÖÛÔú (R) : ×®Ö¤ìü¿ÖÛú ®Öê ‡ÃÖ ¯ÖÏÃŸÖã×ŸÖ ´Öë ÝÖÏßÛú (B) Æêü®Ö×¸üÛú ‡²ÃÖ®Ö, ²Ö™üÖì»™ ü²ÖÎêÜŸÖ, ÃÖê´Öã†»Ö ÃÖ´ÖæÆüÝÖÖ®Ö Ûêú ÛÎú´Ö ÛúÖê †¯Ö®ÖÖµÖÖ Æîü … ²ÖêÛêú™ü, Æü¸üÖê»›ü Ø¯Ö™ü¸ü Ûæú™ü : (C) ÃÖê´Öã†»Ö ²ÖêÛêú™ü, Æêü®Ö×¸üÛú ‡²ÃÖ®Ö, Æü¸üÖê»›ü (A) (A) †Öî¸ü (R) ¤üÖê®ÖÖë ÃÖÆüß Æïü … Ø¯Ö™ü¸ü, ²Ö™üÖì»™ ü²ÖÎêÜŸÖ (B) (A) †Öî¸ü (R) ¤üÖê®ÖÖë ÝÖ»ÖŸÖ Æïü … (D) Æü¸üÖê»›ü Ø¯Ö™ü¸ü, ÃÖê´Öã†»Ö ²ÖêÛêú™ü, ²Ö™üÖì»™ (C) (A) ÃÖÆüß Æîü †Öî¸ü (R) ÝÖ»ÖŸÖ Æîü … ü²ÖÎêÜŸÖ, Æêü®Ö×¸üÛú ‡²ÃÖ®Ö (D) (A) ÝÖ»ÖŸÖ Æîü †Öî¸ü (R) ÃÖÆüß Æîü … J-65-14 19 Paper-III 58. Arrange the elements in sequential 63. Which is the correct sequence ? order from the off stage to the (A) Agra Bazar, Andhayug, auditorium : Tughlq, Evam Indrajit (A) Proskenion, Skene building, (B) Andhayug, Agra Bazar, Evam Theatron, Parados, Orchestra Indrajit, Tughlaq (B) Skene building, Proskenion, (C) Evam Indrajit, Tughlaq, Parados, Orchestra, Theatron Andhayug, Agra Bazar (C) Theatron, Skene building, (D) Tughlaq, Andhayug, Agra Orchestra, Proskenion, Parados Bazar, Evam Indrajit (D) Parados, Prsokenion,

Threatron, Skene building, 64. ‘Fraram’ is a character in Orchestra (A) Ramakatha (B) Ramalila 59. Pick the odd one out : (C) Ramakien (D) Ramayana (A) Line (B) Colour (C) Texture (D) Interpretation 65. Pick the odd one out : (A) A Doll’s House 60. Manohar Singh acted the lead female (B) The Merchant of Venice character in the play (C) Kurt Weill (A) Begam ka Takia (D) The Caucasian Chalk Circle (B) Himmat Mai (C) Jashama Odon 66. Match the items in List – I with items (D) Tughlaq in List – II : List – I List – II 61. Match the items in List – I with the a. Badal Sircar i. Environmental in List – II : theatre List – I List – II b. Richard ii. My Life in Art a. Caliban i. Brecht Schehner b. Hedda Gabler ii. The Miser c. Mayerhold iii. Third theatre c. Life of Galileo iii. The Tempest d. Stanis Lavsky iv. Bio Mechanism d. Moliere iv. Ibsen Codes : Codes : a b c d a b c d (A) iii i iv ii (A) i ii iii iv (B) ii iii i iv (B) ii iii iv i (C) iv ii iii i (C) iii iv i ii (D) i iv ii iii (D) iv i ii iii 67. Assertion (A) : The functions of the 62. Assertion (A) : In Hindi theatre, the Director is not to teach acting populist theatre prevailed but to make the actor understand prominently from 1930s to the to sub-text of the character. 1960s. Reason (R) : Teaching acting is Reason (R) : The folk and the amateur attitude-director has traditional theatre had strong impact on audience during that to work considering the inner period. action of the play. Codes : Codes : (A) (A) is true, (R) is false. (A) (A) is false, (R) is true. (B) (A) is false, (R) is true. (B) (A) is true, (R) is false. (C) (A) is true, (R) is true. (C) (A) is true, (R) is true. (D) (A) is false, (R) is false. (D) (A) is false, (R) is false. Paper-III 20 J-65-14 58. ´ÖÓ“Ö Ûêú ²ÖÖÆü¸ü ÃÖê ¸ÓüÝÖ¿ÖÖ»ÖÖ ŸÖÛú ×®Ö´®Ö×»Ö×ÜÖŸÖ 63. ÃÖÆüß ÛÎú´Ö ŒµÖÖ Æîü ? ŸÖ¢¾ÖÖë ÛúÖê ÃÖÆüß ÛÎú´Ö ´Öë »ÖÝÖÖ‡‹ : (A) †ÖÝÖ¸üÖ ²ÖÖ•ÖÖ¸ü, †Ó¬ÖÖ µÖãÝÖ, ŸÖãÝÖ»ÖÛú, ‡¾ÖÖ´Ö (A) ¯ÖÏÖêÃÛêú×®ÖµÖ®Ö, ×ÃÛú®Ö ×²ÖØ»›üÝÖ, ×£Ö‹™ü¸ü®Ö, ‡®¦ü•ÖßŸÖ ¯Öî¸üÖ›üÖêÃÖ, †ÖÛìúÃ™ÒüÖ, (B) †Ó¬ÖÖµÖãÝÖ, †ÖÝÖ¸üÖ ²ÖÖ•ÖÖ¸,ü ‡¾ÖÖ´Ö ‡Ó¦ü•ÖßŸÖ, (B) ×ÃÛú®Ö ×²ÖØ»›üÝÖ, ¯ÖÏÖêÃÛêú×®ÖµÖ®Ö, ¯Öî¸üÖ›üÖêÃÖ, ŸÖãÝÖ»ÖÛú †ÖÛìúÃ™ÒüÖ, ×£Ö‹™ü¸ü®Ö, (C) ‡¾ÖÖ´Ö ‡®¦ü•ÖßŸÖ, ŸÖãÝÖ»ÖÛú †Ó¬ÖÖµÖãÝÖ, †ÖÝÖ¸üÖ ²ÖÖ•ÖÖ¸ü (C) ×£Ö‹™ü¸ü®Ö, ×ÃÛú®Ö ×²ÖØ»›üÝÖ, †ÖÛìúÃ™ÒüÖ, (D) ŸÖãÝÖ»ÖÛú, †Ó¬ÖÖµÖãÝÖ, †ÖÝÖ¸üÖ ²ÖÖ•ÖÖ¸ü, ‡¾ÖÖ´Ö ¯ÖÏÖêÃÛêú×®ÖµÖ®Ö, ¯Öî¸üÖ›üÖêÃÖ, ‡Ó¦ü•ÖßŸÖ (D) ¯Öî¸üÖ›üÖêÃÖ, ¯ÖÏÖêÃÛêú×®ÖµÖ®Ö, ×£Ö‹™ü¸ü®Ö, ×ÃÛú®Ö ×²ÖØ»›üÝÖ, †ÖÛìúÃ™ÒüÖ 64. ‘±Ïú¸üÖ´Ö ’ ×®Ö´®Ö×»Ö×ÜÖŸÖ ´Öë ‹Ûú ¯ÖÖ¡Ö Æîü : (A) ¸üÖ´ÖÛú£ÖÖ (B) ¸üÖ´Ö»Öß»ÖÖ 59. ×¾ÖÂÖ´Ö ÛúÖê ×“Ö×Å®ÖŸÖ Ûúß×•Ö‹ : (C) ¸üÖ´Ö×Ûú®Ö (D) ¸üÖ´ÖÖµÖÞÖ (A) †ÃŸÖ¸ü (B) ¸ÓüÝÖ 65. ×¾ÖÂÖ´Ö ÛúÖê ×“Ö×Å®ÖŸÖ Ûúß×•Ö‹ : (C) ²Öã®ÖÖ¾Ö™ü (D) ¾µÖÖÜµÖÖ (A) ‹ ›üÖ»ÃÖ ÆüÖˆÃÖ

60. ´Ö®ÖÖêÆü¸ü ØÃÖÆü ®Öê ×®Ö´®Ö×»Ö×ÜÖŸÖ ®ÖÖ™üÛú ´Öë ¯ÖÏ´ÖãÜÖ (B) ¤ ´Ö“Öì®™ü †Öò±ú ¾Öê×®ÖÃÖ ´Ö×Æü»ÖÖ ¯ÖÖ¡Ö ÛúÖ †×³Ö®ÖµÖ ×ÛúµÖÖ Æîü – (C) ÛãúŸÖÔ ×¾Ö»Ö (A) ²ÖêÝÖ´Ö ÛúÖ ŸÖ×ÛúµÖÖ (B) ×Æü´´ÖŸÖ ´ÖÖ‡Ô (D) ¤ü ÛúÖòÛêú×¿ÖµÖ®Ö “ÖÖòÛú ÃÖÛÔú»Ö (C) •Ö¿Ö´ÖÖ †Öê›ü®Ö (D) ŸÖãÝÖ»ÖÛú 66. ÃÖæ“Öß -I Ûúß ´Ö¤üÖë ÛúÖê ÃÖæ“Öß -II Ûúß ´Ö¤üÖë ÃÖê ÃÖã´Öê×»ÖŸÖ 61. ÃÖæ“Öß -I Ûúß ´Ö¤üÖë ÛúÖê ÃÖæ“Öß -II Ûúß ´Ö¤üÖë ÃÖê ÃÖã´Öê×»ÖŸÖ Ûúß×•Ö‹ : Ûúß×•Ö‹ : ÃÖæ“Öß -I ÃÖæ“Öß -II ÃÖæ“Öß -I ÃÖæ“Öß -II a. ²ÖÖ¤ü»Ö ÃÖ¸üÛúÖ¸ü i. ‹®Ö¾ÖÖµÖ®ÖÔ´Öë™ü»Ö a. Ûú×»Ö²ÖÖ®Ö i. ²ÖÎêÜÍŸÖ ×£Ö‹™ü¸ü b. Æêü›üÖ ÝÖê²Ö»Ö¸ü ii. ¬Ö ´ÖÖ‡Ô•ÖÌ¸ü b. ×¸ü“Ö›Ôü ¿Öê¿®Ö¸ü ii. ´ÖÖµÖ »ÖÖ‡Ô±ú ‡®Ö c. »ÖÖ‡Ô±ú †Öò±ú ÝÖê×»Ö×»ÖµÖÖê iii. ¬Ö ™êü´¯ÖêÃ™ü †Ö™Ôü d. ´ÖÖê×»ÖµÖ¸ü iv. ‡²ÃÖ®Ö c. ´ÖêµÖ¸üÆüÖê»›ü iii. £Ö›Ôü ×£Ö‹™ü¸ü d. Ã™êü×®ÖÃÖ »Ö¾ÖÖÃÛúß iv. ²ÖÖµÖÖê-´Öî×Œ®Ö•ÖÌ´Ö Ûæú™ü : Ûæú™ü : a b c d a b c d (A) i ii iii iv (A) iii i iv ii (B) ii iii iv i (B) ii iii i iv (C) iii iv i ii (C) iv ii iii i (D) iv i ii iii (D) i iv ii iii

62. †×³ÖÛú£Ö®Ö (A) : ³ÖÖ¸üŸÖßµÖ ¸ÓüÝÖ´ÖÓ“Ö ´Öë ÃÖ²ÖÃÖê 67. †×³ÖÛú£Ö®Ö (A) : ×®Ö¤ìü¿ÖÛú ÛúÖ ÛúÖµÖÔ †×³Ö®ÖµÖ †×¬ÖÛú »ÖÖêÛú×¯ÖÏµÖ ¸ÓüÝÖ´ÖÓ“Ö ¾ÖÂÖÔ 1930 Ûêú ×ÃÖÜÖÖ®ÖÖ ®ÖÆüà Æîü †×¯ÖŸÖã †×³Ö®ÖêŸÖÖ ÛúÖê ¤ü¿ÖÛú ÃÖê 1960 Ûêú ¤ü¿ÖÛú ´Öë ¯ÖÏ´ÖãÜÖŸÖÖ ÃÖê ¯ÖÖ¡Ö Ûêú ˆ¯Ö-¯ÖÖšü ÛúÖê ÃÖ´Ö—Ö®Öê Ûêú µÖÖêÝµÖ ×¾Öª´ÖÖ®Ö ¸üÆüÖ Æîü … ²Ö®ÖÖ®ÖÖ Æîü … ŸÖÛÔú (R) : ˆÃÖ †¾Ö×¬Ö ´Öë »ÖÖêÛú †Öî¸ü ¯ÖÖ¸Óü¯Ö×¸üÛú ŸÖÛÔú (R) : †×³Ö®ÖµÖ Ûú¸ü®ÖÖ ×ÃÖÜÖ»ÖÖ®ÖÖ ¸ÓüÝÖ´ÖÓ“Ö ÛúÖ ¤ü¿ÖÔÛúÖë ¯Ö¸ü ÛúÖ±úß ¯ÖÏ³ÖÖ¾Ö †¯Ö×¸ü¯ÖŒ¾Ö ¥ü×Â™üÛúÖêÞÖ Æïü, ×®Ö¤ìü¿ÖÛú ÛúÖê £ÖÖ … ®ÖÖ™üÛú Ûúß †®ŸÖ¸ü-×ÛÎúµÖÖ ÛúÖê ÃÖ´Ö—ÖÖŸÖê Æãü‹ Ûæú™ü : ÛúÖµÖÔ Ûú¸ü®ÖÖ ¯Ö›ÌüŸÖÖ Æîü … Ûæú™ü : (A) (A) ÃÖÆüß Æîü, (R) ÝÖ»ÖŸÖ Æîü … (A) (A) ÝÖ»ÖŸÖ Æîü,ü (R) ÃÖÆüß Æîü … (B) (A) ÝÖ»ÖŸÖ Æîü, (R) ÃÖÆüß Æîü … (B) (A) ÃÖÆüß Æîü,ü (R) ÝÖ»ÖŸÖ Æîü … (C) (A) ÃÖÆüß Æîü, (R) ÃÖÆüß Æîü … (C) (A) ÃÖÆüß Æîü, (R) ÃÖÆüß Æîü … (D) (A) ÝÖ»ÖŸÖ Æîü, (R) ÝÖ»ÖŸÖ Æîü … (D) (A) ÝÖ»ÖŸÖ Æîü, (R) ÝÖ»ÖŸÖ Æîü … J-65-14 21 Paper-III 68. Write in correct order : 73. Match items in List – I with List – II : (A) Play reading, Casting, List – I List – II Blocking, Composition a. Bahurupee i. Bhopal (B) Composition, Casting, b. Kalasangam ii. Imphal Blocking, Play reading c. Rang iii. Kolkata (C) Blocking, Play reading, Vidushak Composition, Casting d. Chorus iv. Patna (D) Casting, Composition, Play Repertory reading, Blocking Codes :

69. Pick the odd one out : a b c d (A) Urubhangam (A) i ii iii iv (B) Daridra-Charuduttam (B) ii iii iv i (C) Karnabharam (C) iii iv i ii (D) Ratnavali (D) iv i ii iii

70. Sanskrit text is used in which of the 74. Match items in List – I with the items following forms ? in List – II : (A) Ramalila List – I List – II (B) Therukkoothu a. Kabuki i. Green Room (C) Jatra b. Mizhavu ii. Revolving stage (D) Kudiyattam c. Nepathya iii. Proscenium stage

71. Match the following : d. Apron iv. Kudiyattam List – I List – II Codes : a. Aeschylus i. Dyscolus a b c d b. Sophocles ii. Choephori (A) iii i iv ii c. Euripides iii. Philoctetes (B) i iii ii iv d. Menander iv. Bacchae (C) ii iv i iii Codes : (D) iv ii iii i a b c d (A) iv ii i iii 75. Put them in sequence : (B) ii iii iv i (A) Ancient Greek Theatre, Fabula (C) i iv iii ii Atellana, Comedia Dellārte, (D) iii i ii iv Globe Theatre, Proscenium Theatre 72. Assertion (A) : Royal Shakespeare (B) Fabula Atellana, Ancient Greek Company is situated on the Theatre, Comedia Dell ārte, bank of river Avon at Stratford Globe Theatre, Proscenium of Avon in England. Theatre Reason (R) : Royal Shakespeare (C) Comedia Dell ārte, Ancient Company only presents Greek Theatre, Fabula Shakespeare’s plays. Atellana, Proscenium Theatre, Codes : Globe Theatre (A) Both (A) and (R) are true. (D) Proscenium, Theatre, Globe (B) Both (A) and (R) are false. Theatre, Comedia Dellārte, (C) (A) is true, (R) is false. Ancient Greek Theatre, Fabula (D) (A) is false, (R) is true. Atellana Paper-III 22 J-65-14 68. ×®Ö´®Ö×»Ö×ÜÖŸÖ ÛÎú´ÖÖë ´Öë ÃÖê ÃÖÆüß ÛÎú´Ö ÛúÖ “ÖµÖ®Ö 73. ÃÖæ“Öß -I Ûúß ´Ö¤üÖë ÛúÖê ÃÖæ“Öß -II ÃÖê ÃÖã´Öê×»ÖŸÖ Ûúß×•Ö‹ : Ûúß×•Ö‹ : ÃÖæ“Öß -I ÃÖæ“Öß -II (A) ®ÖÖ™üÛú ¯Öšü®Ö, ÛúÖØÃ™üÝÖ, ²»ÖÖòØÛúÝÖ, a. ²ÖÆãü¹ý¯Öß i. ³ÖÖê¯ÖÖ»Ö Ûú´¯ÖÖê×•Ö¿Ö®Ö b. Ûú»ÖÖ ÃÖÓÝÖ´Ö ii. ‡´±úÖ»Ö (B) Ûú´¯ÖÖê×•Ö¿Ö®Ö, ÛúÖØÃ™üÝÖ, ²»ÖÖòØÛúÝÖ, ®ÖÖ™üÛú c. ¸ÓüÝÖ ×¾Ö¤æüÂÖÛú iii. ÛúÖê»ÖÛúÖŸÖÖ ¯Öšü®Ö d. ÃÖ´ÖæÆüÝÖÖ®Ö ¸êü¯Öê™Ôü¸üß iv. ¯Ö™ü®ÖÖ (C) ²»ÖÖòØÛúÝÖ, ®ÖÖ™üÛú ¯Öšü®Ö, Ûú´¯ÖÖê×•Ö¿Ö®Ö, ÛúÖØÃ™üÝÖ Ûæú™ü : (D) ÛúÖØÃ™üÝÖ, Ûú´¯ÖÖê×•Ö¿Ö®Ö, ®ÖÖ™üÛú ¯Öšü®Ö, a b c d ²»ÖÖòØÛúÝÖ (A) i ii iii iv (B) ii iii iv i 69. ×®Ö´®Ö×»Ö×ÜÖŸÖ ´Öë ÃÖê ×¾ÖÂÖ´Ö ÛúÖ “ÖµÖ®Ö Ûúß×•Ö‹ : (C) iii iv i ii (A) ˆ¹ý³ÖÝÖ´ÖË (B) ¤ü×¸ü¦ü – “ÖÖºþ¤ü¢Ö´ÖË (D) iv i ii iii (C) ÛúÞÖÔ³Ö¸ü´Ö (D) ¸üŸ®ÖÖ¾Ö»Öß 74. ÃÖæ“Öß -I Ûúß ´Ö¤üÖë ÛúÖê ÃÖæ“Öß -II Ûúß ´Ö¤üÖë ÃÖê ÃÖã´Öê×»ÖŸÖ 70. ×®Ö´®Ö×»Ö×ÜÖŸÖ ºþ¯ÖÖë ´Öë ÃÖê ÃÖÓÃÛéúŸÖ ¯ÖÖšü ÛúÖ ×ÛúÃÖ´Öë Ûúß×•Ö‹ : ¯ÖÏµÖÖêÝÖ ×ÛúµÖÖ •ÖÖŸÖÖ Æîü ? ÃÖæ“Öß -I ÃÖæ“Öß -II (A) ¸üÖ´Ö»Öß»ÖÖ (B) £Öê¹ýŒÛæú™æü a. ÛúÖ²ÖãÛúß i. ÝÖÏß®Ö ºþ´Ö (C) •ÖÖŸÖ¸üÖ (D) Ûãú×›üµÖÖ¼ü´Ö b. ×´Ö—ÖÖ¾Öã ii. ‘ÖæÞÖÔ®Ö ´ÖÓ“Ö 71. ×®Ö´®Ö×»Ö×ÜÖŸÖ ÛúÖê ÃÖã´Öê×»ÖŸÖ Ûúß×•Ö‹ : c. ®Öê¯Ö£µÖ iii. ¯ÖÏÖêÃÖß×®ÖµÖ´Ö ´ÖÓ“Ö ÃÖæ“Öß -I ÃÖæ“Öß -II d. ‹¯ÖÏÖê®Ö iv. Ûãú×›üµÖ™Ëü™ü´Ö a. ‹ÃÛúÖ‡»ÖÃÖ i. ›üÖ‡ÃÛúÖê»ÖÃÖ Ûæú™ü : b. ÃÖÖê±úÖêŒ»ÖßÃÖ ii. “ÖÖê‡±úÖê¸üß a b c d c. µÖæ¸üß¯Ö›üß•Ö iii. ×±ú»ÖÖêÛú™üß×™üÃÖ (A) iii i iv ii d. ´Öê®Öê®›ü¸ü iv. ²ÖÛúÖµÖ (B) i iii ii iv Ûæú™ü : (C) ii iv i iii a b c d (D) iv ii iii i (A) iv ii i iii (B) ii iii iv i 75. ÃÖÆüß ÛÎú´Ö ´Öë »ÖÝÖÖ‡‹ : (C) i iv iii ii (A) (D) iii i ii iv ¯ÖÏÖ“Öß®Ö ÝÖÏßÛú ×£Ö‹™ü¸ü, ±ú²Öã»Ö ‹™êü»Ö®ÖÖ, ÛúÖò´Öê×›üµÖÖ ›êü»Ö†Ö™êü, Ý»ÖÖê²Ö ×£Ö‹™ü¸ü, 72. †×³ÖÛú£Ö®Ö (A) : ¸üÖòµÖ»Ö ¿ÖêÛú×Ã¯ÖµÖ¸ü ÛÓú¯Ö®Öß ¯ÖÏÖêÃÖß×®ÖµÖ´Ö ×£Ö‹™ü¸ü ‡ÓÝ»Öï›ü Ûêú Ã™ÒüÖ™ü±úÖê›Ôü †Öò±ú ‹¾Ö®Ö ´Öë ‹¾Ö®Ö (B) ±ú²Öã»Ö ‹™êü»Ö®ÖÖ, ¯ÖÏÖ“Öß®Ö ÝÖÏßÛú ×£Ö‹™ü¸ü, ®Ö¤üß Ûêú ×Ûú®ÖÖ¸êü ×Ã£ÖŸÖ Æîü … ÛúÖò´Öê×›üµÖÖ ›êü»Ö†Ö™êü, Ý»ÖÖê²Ö ×£Ö‹™ü¸ü, ŸÖÛÔú (R) : ¸üÖòµÖ»Ö ¿ÖêÛú×Ã¯ÖµÖ¸ü ÛÓú¯Ö®Öß Ûêú¾Ö»Ö ¯ÖÏÖêÃÖß×®ÖµÖ´Ö ×£Ö‹™ü¸ü ¿ÖêÛú×Ã¯ÖµÖ¸ü Ûêú ®ÖÖ™üÛúÖë ÛúÖê ¯ÖÏÃŸÖãŸÖ Ûú¸üŸÖß Æîü … (C) ÛúÖò´Öê×›üµÖÖ ›êü»Ö†Ö™êü, ¯ÖÏÖ“Öß®Ö ÝÖÏßÛú ×£Ö‹™ü¸ü, Ûæú™ü : ±ú²Öã»Ö ‹™êü»Ö®ÖÖ, ¯ÖÏÖêÃÖß×®ÖµÖ´Ö ×£Ö‹™ü¸ü, (A) (A) †Öî¸ü (R) ¤üÖê®ÖÖë ÃÖÆüß Æïü … Ý»ÖÖê²Ö ×£Ö‹™ü¸ü (B) (A) †Öî¸ü (R) ¤üÖê®ÖÖë ÝÖ»ÖŸÖ Æïü … (D) ¯ÖÏÖêÃÖß×®ÖµÖ´Ö ×£Ö‹™ü¸ü, Ý»ÖÖê²Ö ×£Ö‹™ü¸ü, (C) (A) ÃÖÆüß Æîü, (R) ÝÖ»ÖŸÖ Æîü … ÛúÖò´Öê×›üµÖÖ ›êü»Ö†Ö™êü, ¯ÖÏÖ“Öß®Ö ÝÖÏßÛú ×£Ö‹™ü¸ü, (D) (A) ÝÖ»ÖŸÖ Æîü, (R) ÃÖÆüß Æîü … ±ú²Öã»Ö ‹™êü»Ö®ÖÖ J-65-14 23 Paper-III Space For Rough Work

Paper-III 24 J-65-14