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Test Paper : III Test Booklet Serial No. : ______Test Subject : PERFORMING ARTS OMR Sheet No. : ______Test Subject Code : K-3917 Roll No. (Figures as per admission card) Name & Signature of Invigilator/s Signature : ______Name : ______Paper : III Subject : PERFORMING ARTS Time : 2 Hours 30 Minutes Maximum Marks : 150 Number of Pages in this Booklet : 24 Number of Questions in this Booklet : 75 A»Ü¦ìWÜÚWæ ÓÜãaÜ®æWÜÙÜá Instructions for the Candidates 1. D ±âo¨Ü Ü ÊáàÆᤩ¿áÈÉæ J¨XÔ¨Ü Ü Ó§ÙÜ ¨Ü ÈÉÜ ¯ÊáÜ ¾ ÃãàÇ æ ®íŸÃÜ ®Ü áÜ ° ŸÃÀáÄ.æ 1. Write your roll number in the space provided on the top of this page. 2. D ±£ÅPÜ ¿ááæ ŸÖáÜ BÁáR Ë«¨Ü Ü G±ñ³Ü ô¨æ áÜ ±ÅÍÜ W°æ ÙÜ ®Ü áÜ ° JÙWÜ ãíw¨æ .æ 2. This paper consists of seventy five multiple-choice type of questions. 3. ±ÄàPÜ Ò¿áæ ±ÝÅÃí»Ü ¨Ü ÈÉÜ , ±ÅÍÜ °æ±âÔ¤PÜ ¿á®æ áÜ ° ¯ÊáWÜ æ¯àvÇÝWÜ áÊÜ â¨Ü á.Ü Êã¨æ ÆÜ 5 ¯ËáÐWÜ ÙÜ ÈÉÜ 3. At the commencement of examination, the question booklet will ¯àÊâÜ ±âÔ¤PÜ ¿á®æ áÜ ° ñÃæ ¿áÆáæ ÊáñÜ á¤Ü PÙæ X®Ü íñÜ æPvÝÜ ¿áÊÝXx ±ÄàQÒÓÜ ÆáÜ PãàÃæ ÇÝX¨Ü .æ be given to you. In the first 5 minutes, you are requested to open the booklet and compulsorily examine it as below : (i) ±ÅÍÜ °æ ±âÔ¤PÜ Wæ æ ±ÅÊÜ àÍÝÊæ PÝÍÜ Ü ±vÜ ¿áÆá,æ D Öã©Pæ æ ±âo¨Ü Ü Aíb® Ü ÊáàÈÃæ áÊÜ Ü (i) To have access to the Question Booklet, tear off the paper ±æà±Üà ÔàÆ®Üá° ÖÜÄÀáÄ. ÔrPÜRà ÔàÇ CÆÉ¨Ü A¥ÜÊÝ ñæÃæ¨Ü ±ÜâÔ¤Pæ¿á®Üá° seal on the edge of the cover page. Do not accept a ÔÌàPÄÓÜ ¸Ü àwæ . booklet without sticker seal or open booklet. (ii) ±âÜÔ¤P¿æ áÈÉ® Ü ±ÅÍÜ W°æ ÙÜ Ü ÓíTÜ Âæ ÊáÜ ñáÜ ¤ ±âÜ oWÙÜ Ü ÓíTÜ Âæ¿á®áÜ ° ÊááÜ S±âÜ o¨ Ü Êáàæ Çæ (ii) Tally the number of pages and number of questions ÊááÜ ©ÅÔ¨ Ü ÊÞ×Ü £Áãí©W æ ñÝÙ æ ®ãàæ wÄ. ±âÜoWÙÜ áÜ /±ÅÍÜ W°æ ÙÜ áÜ PÝO¿Þ¨æ ,Ü in the booklet with the information printed on the A¥ÊÝÜ ©±Ì ÅÜ£ A¥ÊÝÜ A®áÜ PÅÊÜ áÜ ÊÝXÆɨ Ü A¥ÊÝÜ CñÃÜ Ü ¿ÞÊâܨàæ ÊÂÜñÝÂÓ¨Ü Ü cover page. Faulty booklets due to pages/questions missing or duplicate or not in serial order or any ¨ãàæ Ð±Ü äÄñÜ Ü±âÜÔ¤P¿æ á®áÜ °PãÜ vÇÜ æ5 ¯ËáÐ¨Ü ÜAÊ—Ü JÙWÜ ,æ ÓíËÜ àPÒPÜ Äí¨Ü ÜÓÄÜ other discrepancy should be got replaced immediately CÃÜáÊÜ ±ÜâÔ¤PæWæ Ÿ¨ÜÇÝÀáÔPæãÙÜÛ¸æàPÜá. B ŸÚPÜ ±ÜÅÍæ° ±Ü£ÅPæ¿á®Üá° by a correct booklet from the invigilator within the Ÿ¨ÇÝÀÜ áÓÇÝÜ WáÜ ÊâÜ©ÆÉ , ¿ÞÊâܨàæ Öaæ áÜ c ÓÊÜ áÜ ¿á樆 ãÜ ° Pãæ vÇÝÜ WáÜ ÊâÜ©ÆÉ . period of 5 minutes. Afterwards, neither the Question 4. ±Å£Áãí¨Ü áÜ ±ÅÍÜ W°æ ãÜ (A), (B), (C) ÊáñÜ á¤Ü (D) Gí¨áÜ WáÃÜ á£Ô¨Ü Ü®ÝÆáR ±¿Þì¿áÜ Booklet will be replaced nor any extra time will be given. EñܤÃÜWÜÚÊæ. ¯àÊÜâ ±ÜÅÍæ°¿á G¨ÜáÃÜá ÓÜÄ¿Þ¨Ü EñܤÃÜ¨Ü ÊæáàÇæ, PæÙÜWæ PÝ~Ô¨Üíñæ 4. Each item has four alternative responses marked (A), (B), (C) AívÝPꣿá®Ü áÜ ° P±ÝÜ XÓ³ ¸Ü àPæ á.Ü and (D). You have to darken the circle as indicated below on the correct response against each item. E¨ÝÖÃÜ OÜ æ : ABCD Example :A B C D (C) ÓÜÄ¿Þ¨Ü EñܤÃÜÊÝX¨ÝªWÜ. where (C) is the correct response. 5. ±ÅÍÜ W°æ ÚWÜ æ Eñ¤ÃÜ WÜ ÙÜ ®Ü áÜ ° , ±Ü£ÅPæ III ±âÜÔ¤PÁæ ãÙWÜ æ Pãæ qrÃáÜ Ê ÜOMR Eñ¤ÃÜ ÜÖÝÙ¿æ áÈÉ 5. Your responses to the question of Paper III are to be indicated ÊÜÞñÜÅÊÜæà ÓÜãbÓÜñÜPÜR¨Üáª. OMR ÖÝÙæ¿áÈÉ®Ü AívÝPÜê£ ÖæãÃÜñÜá±ÜwÔ ¸æàÃæ in the OMR Sheet kept inside the Booklet. If you mark at any ¿ÞÊâ¨Ü àæ Ó§ÙÜ ¨Ü ÈÉÜ WáÃÜ á£Ô¨Ü ÃÜ ,æ A¨ÃÜ Ü ÊåèÆÂÊÜ Þ±Ü ®Ü Ü ÊÞvÜ ÇÝWÜ áÊÜ â©ÆÉ.Ü place other than in the circles in OMR Sheet, it will not be 6. OMR EñܤÃÜ ÖÝÙæ¿áÈÉ Pæãor ÓÜãaÜ®æWÜÙÜ®Üá° hÝWÜÃÜãPÜñæÀáí¨Ü K©Ä. evaluated. 7. GÇÝÉ PÜÃÜvÜá PæÆÓÜÊÜ®Üá° ±ÜâÔ¤Pæ¿á Pæã®æ¿áÈÉ ÊÜÞvÜñÜPÜR¨Ü᪠. 6. Read the instructions given in OMR carefully. 7. Rough Work is to be done in the end of this booklet. 8. ¯ÊÜá¾ WÜáÃÜáñÜ®Üá° Ÿ×ÃÜíWܱÜwÓܟÖÜá¨Ý¨Ü ¯ÊÜá¾ ÖæÓÜÃÜá A¥ÜÊÝ ¿ÞÊÜâ¨æà 8. If you write your name or put any mark on any part of the OMR bÖæ°¿á®Üá° , ÓÜíWÜñÜÊÝ¨Ü ÓܧÙÜ ÖæãÃÜñÜá ±ÜwÔ, OMR EñܤÃÜ ÖÝÙæ¿á ¿ÞÊÜâ¨æà Answer Sheet, except for the space allotted for the relevant »ÝW¨Ü ÈÉÜ ŸÃ¨æ ÃÜ ,æ ¯àÊâÜ A®ÖÜ ìñÜ Wæ æ ¸Ý«ÂÃÝXÃÜ á£¤àÄ.Ü entries, which may disclose your identity, you will render yourself 9. ±ÜÄàPæÒ¿áá ÊÜááX¨Ü®ÜíñÜÃÜ, PÜvÝx¿áÊÝX OMR EñܤÃÜ ÖÝÙæ¿á®Üá° ÓÜíËàPÜÒPÜÄWæ liable to disqualification. 9. You have to return the test OMR Answer Sheet to the invigilators ¯àÊâÜ ×í£ÃáXÓÜ ¸Ü àPæ áÜ ÊáñÜ á¤Ü ±ÄàPÝÒÜ Pãsæ w¿áÜ ÖãÃæ WÜ æ OMR ®Üá° ¯Êæã¾í©Wæ at the end of the examination compulsorily and must NOT Pæãívæã¿áÂPÜãvܨÜá. carry it with you outside the Examination Hall. 10. ±ÜÄàPæÒ¿á ®ÜíñÜÃÜ, ±ÜÄàPÝÒ ±ÜÅÍæ° ±Ü£ÅPæ¿á®Üá° ÊÜáñÜᤠ®ÜPÜÆá OMR EñܤÃÜ ÖÝÙæ¿á®Üá° 10. You can take away question booklet and carbon copy of ¯Êæã¾í©Wæ ñæWæ¨ÜáPæãívÜá ÖæãàWܟÖÜá¨Üá. OMR Answer Sheet after the examination. 11. ¯àÈ/P±Ü âÜ ³ ¸ÝÇ ±ÝÀáíp ±®æ ÊÞñÜ ÅÊÜ àæ E±ÁãàXÔÄÜ . 11. Use only Blue/Black Ball point pen. 12. PÝÂÆáRÇàoÃæ , ˨á®ÝÜ ®¾ Ü E±PÜ ÃÜ |Ü A¥ÊÝÜ ÇÝW pàŸÇæ CñÝ©¿á 12. Use of any calculator, Electronic gadgets or log table etc., is prohibited. E±ÁãàWÜ ÊÜ ®Ü áÜ ° ¯Ðà—Óæ ÇÝX¨Ü .æ 13. There is no negative marks for incorrect answers. 13. ÓÄÜ AÆɨ Ü Eñ¤ÃÜ WÜ ÚWÜ æ Má| AíP Ü CÃáÊÜ â©ÆÉÜ . 14. In case of any discrepancy found in the Kannada 14. PܮܰvÜ ÊÜáñÜᤠCíXÉàÐ BÊÜ꣤WÜÙÜ ±ÜÅÍæ° ±Ü£ÅPæWÜÙÜÈÉ ¿ÞÊÜâ¨æà Äࣿá ÊÜÂñÝÂÓÜWÜÙÜá translation of a question booklet the question in English PÜívÜáŸí¨ÜÈÉ , CíXÉàÐ BÊÜ꣤WÜÙÜÈÉÃÜáÊÜâ¨æà Aí£ÊÜáÊæí¨Üá ±ÜÄWÜ~ÓܸæàPÜá. version shall be taken as final. K-3917 1 ±Üâ.£.®æãà./P.T.O. *K3917* Total Number of Pages : 24 ±ÜŨÜÍÜì®Ü PÜÇæWÜÙÜá ±æà±Üà – III

WÜÊÜá¯Ô : D ±Ü£ÅPæ¿áá (75) G±Ü³ñæô¨Üá ÊÜÓÜ᤯ÐÜ u ÊÜÞ¨ÜÄ¿á ±ÜÅÍæ°WÜÙÜ®æã°ÙÜWæãíw¨Üáª, ±ÜÅ£Áãí¨Üá ±ÜÅÍæ°¿áã GÃÜvÜá (2) AíPÜWÜÙÜ®Üá° Öæãí©¨æ. GÇÝÉ ±ÜÅÍæ°WÜÙÜ®Üã° PÜvÝx¿áÊÝX EñܤÄÓܸæàPÜá. 1. ŸáÃÜÅ PÜ¥Ý PÜÇÝ ±ÜÅPÝÃÜÊÜâ ÓÝÊÜÞ®ÜÂÊÝX PÜívÜá 5. ÃÜíWÜ»ÜãËá¿áÈÉ ŸÙÜÓÜáÊÜ ±ÝűÜqìWÜÙÜÈÉ GÃÜvÜá ŸÃÜáÊÜâ¨Üá ŸWæ

(A) ±Üíhݸ (A) ®Üo®æ ÊÜáñÜᤠ¯¨æìàÍÜ®Ü

(B) ÖÜ¿Þì| (B) aÜÃÜ ÊÜáñÜᤠԧÃÜ (C) ñæÆíWÝ| (C) GÃÜÊÜÆá ÊÜáñÜᤠ¸ÝwWæ (D) AÓÝÕí (D) ÖÝÂív ±ÝűÜqì ÊÜáñÜᤠÓæp ±ÝűÜqì

2. Cí¨Üã iàÊÜíñÜÊÝXÃÜáÊÜ Jí¨æà PÜáoáíŸ¨Ü »ÝÃÜ£à¿á ®ÝoPÜ PÜí±Ü¯ 6. ±ÝÂípæãàÊæáçÊÜå ®Ü ŸWæ (A) ÓÜáÃܼ (A) Óæp ±ÝűÜqì (B) ÃÜíWÝ¿á| (B) ÓÜíXàñÜ ®ÝoPÜ (C) Bí«ÜÅ ®ÝoPÜ PÜÇÝÍÝÇæ (C) ÊÜáãPÜ A¼®Ü¿á (D) ÃÜá¨ÜÅÃÜíWÜ (D) ¨ÜáÃÜíñÜ ®ÝoPÜ

3. “An Actor Prepares” D ±ÜâÓܤPÜ¨Ü PÜñÜêì 7. bí¨Üá »ÝWÜÊÜñÜÊÜå ®ÜÊÜáWæ ÖæaÝcX PÜívÜá ŸÃÜáÊÜâ¨Üá

(A) XàñÝ PܱÜäà (A) AÓÝÕí

(B) ¸æÅP r (B) ¸æíWÝÙÜ (C) XÄàÍ PÝ®Ýìv (C) WÜágÃÝñ (D) ÓÝr¯ÓÝÉÊ ÔR (D) ñæÆíWÝ|

4. Óܴܪà ÖÜξ¿áÊÜÃÜ ÖæÓÜÃÜ®Üá° ®ÝÊÜâ ÓÝÊÜÞ®ÜÂÊÝX D PæÙÜX®Ü¨ÜÃæãí©Wæ WÜáÃÜá£ÓÜáñæ¤àÊæ 8. WÜáí²Wæ ÓæàÃܨܪ®Üá° WÜáÃÜá£Ô. (A) G²P ÃÜíWÜ»ÜãËá (A) Óæó$çp ÊæáàPܱ (B) ¹à© ÃÜíWÜ»ÜãËá (B) ÊæãhÝÀáP ÊæáàPܱ (C) ñÜê£à¿á ÃÜíWÜ»ÜãËá (C) Ãèív ÊæáàPܱ (D) B£¾à¿á ÃÜíWÜ»ÜãËá (D) ÓÜRÇ ³aÜà ÊæáàPܱ

Paper III 2 K-3917 *K3917* Total Number of Pages : 24 PERFORMING ARTS PAPER – III

Note : This paper contains seventy-five (75) objective type questions. Each question carries two (2) marks. All questions are compulsory.

1. Burra Katha is a form that is mainly 5. Properties are of two kinds found in (A) Acting and directing (A) Punjab (B) Movable and immovable (B) Haryana (C) Borrowed and rented (C) Telangana (D) Hand properties and set properties (D) Assam

6. Pantomime is a kind of 2. The name of a family theatre company which is still alive in (A) Set property

(A) Surabhi (B) Musical drama

(B) Rangayana (C) Silent acting (C) Andhra Nataka Kalashala (D) Tragedy (D) Rudra Ranga 7. Chindu Bhagavatam is mainly found in 3. "An Actor Prepares" is a book written by (A) Assam (A) Geeta Kapur (B) Bengal (B) Brecht (C) Gujarat (C) (D) Telangana (D) Stanislavsky

4. Safdar Hasmi is a name associated with 8. Pick the odd one out. (A) Epic theatre (A) Straight make-up (B) Street theatre (B) Mozaic make-up (C) Third theatre (C) Round make-up

(D) Intimate theatre (D) Sculpture make-up K-3917 3 Paper III *K3917* Total Number of Pages : 24 9. WÜáí²Wæ ÓæàÃÜ¨Ü ±Ü¨ÜÊÜ®Üá° WÜáÃÜá£Ô. 13. ®ÝoPÜ¨Ü ±æäÅvÜPÜÒ® ®Ü ÓÜí¨Ü»Üì¨ÜÈÉ CÊÜÃÜáWÜÙÜá ŸÃÜáÊÜ ÓÜÄ¿Þ¨Ü PÝÇÝ®ÜáPÜÅÊÜáOæ¿á®Üá° WÜáÃÜá£Ô. (A) Bí² ¦ÁáàoÃ

(B) ¥ÜÅÓ r ¦Ááàoà (A) ÓÜíXàñÜ ¯¨æìàÍÜPÜÃÜá, Óæp Ë®ÝÂÓÜPÜÃÜá, Óæràh ÊÜÞ®æàgà , ÇæçqíW Ë®ÝÂÓÜPÜÃÜá, ÊÜÓÜ÷ (C) Bà PæÓÝó Ë®ÝÂÓÜPÜÃÜá (D) ±æäÅÓæ௿áí ¦Ááàoà (B) ¸æÙÜPÜá Ë®ÝÂÓÜPÜÃÜá, ÊÜÓÜ÷ Ë®ÝÂÓÜPÜÃÜá, Óæp Ë®ÝÂÓÜPÜÃÜá, Óæràh ÊÜÞ®æàgà , ÓÜíXàñÜ 10. WÜáí²Wæ ÓæàÃÜ¨Ü ±Ü¨ÜÊÜ®Üá° WÜáÃÜá£Ô. ¯¨æìàÍÜPÜÃÜá (A) AŸÕà ÊæàÐÜ® (¯ÄàPÜÒOæ/WÜÊÜá¯ÓÜáËPæ) (C) Óæràh ÊÜÞ®æàgà , Óæp Ë®ÝÂÓÜPÜÃÜá, (B) PÝ® ÓæípæÅàÐÜ® (HPÝWÜÅñæ) ÓÜíXàñÜ ¯¨æìàÍÜPÜÃÜá, ¸æÙÜPÜá Ë®ÝÂÓÜPÜÃÜá,

(C) Cí±ÜäÅÊæçÓæàÐÜ® (E¨ÜœÄÓÜá) ÊÜÓÜ÷ Ë®ÝÂÓÜPÜÃÜá

(D) ¸ÝÉQíW (aÜÆ®Ý Ë®ÝÂÓÜ) (D) ÊÜÓÜ÷ Ë®ÝÂÓÜPÜÃÜá, Óæp Ë®ÝÂÓÜPÜÃÜá, ÓÜíXàñÜ ¯¨æìàÍÜPÜÃÜá, Óæràh ÊÜÞ®æàgà , ¸æÙÜPÜá

11. WÜáí²Wæ ÓæàÃÜ¨Ü ±Ü¨ÜÊÜ®Üá° WÜáÃÜá£Ô. Ë®ÝÂÓÜPÜÃÜá

(A) PÜã Ñàp 14. D ñÜívÜWÜÙÜá Óݧ±Ü®æ¿Þ¨Ü ÓÜÄ¿Þ¨Ü (B) ÊÜQìíW Ôð± r PÝÇÝ®ÜáPÜÅÊÜá¨Ü hæãàvÜOæ¿á®Üá° WÜáÃÜá£Ô.

(C) væçÃæPÜrÃ Õ Ôð± r (A) ±ÜÅhÝ ®Ýo ÊÜáívÜÚ, I.².q.G., ÓÜÊÜáá¨Ý¿á,

(D) ±ÝÉp g®Ü ®Ýo ÊÜáívÜÚ, g®Ü ®Ýo ÊÜáía (B) I.².q.G., g®Ü ®Ýo ÊÜáía , ±ÜÅhÝ ®Ýo 12. WÜáí²Wæ ÓæàÃܨܪ®Üá° WÜáÃÜá£Ô. ÊÜáívÜÚ, g®Ü ®Ýo ÊÜáívÜÚ, ÓÜÊÜáá¨Ý¿á

(A) ®Üo®æ (BÂQríW ) (C) ±ÜÅhÝ ®Ýo ÊÜáívÜÚ, ÓÜÊÜáá¨Ý¿á, I.².q.G.,

(B) vÜŸÇ PÝÔríW g®Ü ®Ýo ÊÜáía , g®Ü ®Ýo ÊÜáívÜÚ

(C) vÜŸÇ ÃæãàÇ PÝÔríW (D) ÓÜÊÜáá¨Ý¿á, g®Ü ®Ýo ÊÜáía , I.².q.G., g®Ü ®Ýo ÊÜáívÜÚ, ±ÜÅhÝ ®Ýo ÊÜáívÜÚ (D) ÊÜáÈr ÃæãàÇ PÝÔríW

Paper III 4 K-3917 *K3917* Total Number of Pages : 24 9. Pick the odd one out. 13. Pick the right sequence in which they come in a production. (A) Amphi theatre (A) Music Director, set designer, stage (B) Thurst theatre manager, lighting designer, costume (C) Orchestra designer

(D) Proscenium theatre (B) Lighting designer, costume designer, set designer, stage manager, music Director 10. Pick the odd one out. (C) Stage manager, set designer, music (A) Observation Director, lighting designer, costume (B) Concentration designer

(C) Improvisation (D) Costume designer, set designer, music Director, stage manager, (D) Blocking lighting designer

11. Pick the odd one out. 14. Pick the right chronological sequence of the establishment of theatre groups. (A) Cue sheet (A) Praja Natya Mandali, IPTA, (B) Working script Samudaya, Jana Natya Mandali, (C) Director’s script Jana Natya Manch

(D) Plot (B) IPTA, Jana Natya Manch, Praja Natya Mandali, Jana Natya Mandali, Samudaya 12. Pick the odd one out. (C) Praja Natya Mandali, Samudaya, (A) Acting IPTA, Jana Natya Manch, Jana Natya (B) Double casting Mandali

(C) Double role casting (D) Samudaya, Jana Natya Manch, IPTA, Jana Natya Mandali, Praja (D) Multi-role casting Natya Mandali

K-3917 5 Paper III *K3917* Total Number of Pages : 24 15. Öæãí©ÔÄ : 18. WÜáí²Wæ ÓæàÃܨܪ®Üá° WÜáÃÜá£Ô. ±Üqr – A ±Üqr – B (A) PÜ® Êæ® ÐÜ®ÜÇ ÊæáçÊÜå 1. Aí«Ü¿ááWÜ a. ÍÜã¨ÜÅPÜ 2. G vÝÇ Õ ÖèÓ b. ÍæàP Ô³¿áà (B) ËáËáQÅ

3. ¨Ü ÊÜáaæìíp B´ c. CŸÕ® (C) ±ÝÂípæãàÊæáçÊÜå Êæ¯Ó (D) BPÜá±æàÐÜ®ÜÇ ÊæáçÊÜå 4. ÊÜáêaÜfPÜqPÜ d. «ÜÊÜáì ËàÃÜ »ÝÃÜ£

(A) 1 – b, 2 – c, 3 – d, 4 – a 19. WÜáí²Wæ ÓæàÃܨܪ®Üá° WÜáÃÜá£Ô.

(B) 1 – d, 2 – b, 3 – c, 4 – a (A) ÖÝÊÜ»ÝÊÜ

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16. Öæãí©ÔÄ : (D) »ÝÊÜ®æWÜÙÜá ±Üqr – A ±Üqr – B 1. ¹. Ë. PÝÃÜíñÜ a. ñÝÀá 20. WÜáí²Wæ ÓæàÃܨܪ®Üá° WÜáÃÜá£Ô. 2. Bà . ®ÝWæàÍ b. JvÜÙÝÆ 3. ±ÜÅÓܮܰ c. PÜêÐæ¡àWèvÜ®Ü B®æ (A) BíXPÜ 4. Ô.i.Pæ. d. WæãàPÜáÆ ¯WÜìÊÜá®Ü (B) BÖÝ¿áì (A) 1 – d, 2 – c, 3 – a, 4 – b (C) ÊÝbPÜ (B) 1 – b, 2 – a, 3 – c, 4 – d (D) ÓÝ¥ÜìPÜ (C) 1 – a, 2 – d, 3 – c, 4 – b

(D) 1 – d, 2 – b, 3 – c, 4 – a 21. PæãàÇÝoÊÜâ PÜívÜá ŸÃÜáÊÜ ±ÝÅíñÜÂ

17. WÜáí²Wæ ÓæàÃܨܪ®Üá° WÜáÃÜá£Ô. (A) ¨æÖÜÈ (A) G.GÓ . ÊÜáã£ì (B) PÜ®ÝìoPÜ (B) Ô.i.Pæ. (C) PÝξàÃÜ (C) ±ÜÅÓܮܰ (D) ԨܪÈíWÜ¿á (D) PæàÃÜÙÜ

Paper III 6 K-3917 *K3917* Total Number of Pages : 24 15. Match the following : 18. Pick the odd one out. List – A List – B 1. Andhayug a. Sudraka (A) Conventional Mime 2. A Doll’s House b. Shakespeare (B) Mimicry 3. The Merchant c. Ibsen of Venice (C) Pantomime 4. Mrichhakatika d. Dharma Veer (D) Occupational Mime Bharathi (A) 1 – b, 2 – c, 3 – d, 4 – a 19. Pick the odd one out. (B) 1 – d, 2 – b, 3 – c, 4 – a (C) 1 – b, 2 – d, 3 – c, 4 – a (A) Gestures

(D) 1 – d, 2 – c, 3 – b, 4 – a (B) Movements

16. Match the following : (C) Postures List – A List – B (D) Emotions 1. B. V. Karanth a. Taayi 2. R. Nagesh b. Odalala 3. Prasanna c. Krishne 20. Pick the odd one out. Gowdana Ane (A) Angika 4. C. G. K. d. Gokula Nirgamana (B) Aharya (A) 1 – d, 2 – c, 3 – a, 4 – b (C) Vachika (B) 1 – b, 2 – a, 3 – c, 4 – d (D) Sarthaka (C) 1 – a, 2 – d, 3 – c, 4 – b (D) 1 – d, 2 – b, 3 – c, 4 – a 21. Kolata is a folk art from

17. Pick the odd one out. (A) Delhi (A) A. S. Murthy (B) Karnataka (B) C. G. K. (C) Kashmira (C) Prasanna (D) Siddalingaiah (D) Kerala

K-3917 7 Paper III *K3917* Total Number of Pages : 24 22. ÇæàSPÜÃÜ®Üá° AÊÜÃÜ PÜê£WÜÙæãí©Wæ Öæãí©ÔÄ : 26. ÃÜíWÜ¨Ü ÊæáàÇæ BÙܨÜÈÉÃÜáÊÜ ¹Ú ±ÜÃÜ¨æ ±Üqr – A ±Üqr – B (A) ÓæçPæãàvÝÅÊÜÞ 1. PÜáÊæí±Üâ a. QÃÜWÜãÄ®Ü WÜ¿ÞÂÚWÜÙÜá (B) ¸æÓ r PÜpæçì®

2. ¨æàÊÜ®ÜãÃÜ ÊÜáÖݨæàÊÜ b. gÆWÝÃÜ (C) ÊÝÇ PÜpæçì®

3. ñæàgÔÌ Pæ. ². c. ÊÜáÖÝaæçñÜÅ (D) ÓæçPæãÉàÃÜÊÜá 4. ÎÊܱÜÅPÝÍ Ga .GÓ . d. PÜáÓÜáÊÜá¸ÝÇæ

(A) 1 – d, 2 – b, 3 – c, 4 – a 27. ÃÜíWÜ¨Ü ÊæáàÇæ ±ÜŨÜÍÜì®Ü ¯àvÜáÊÝWÜ ®ÜoÃÜá, (B) 1 – c, 2 – b, 3 – d, 4 – a ±æÅàPÜÒPÜÃæãí©Wæ ______¸æÙæÓܸæàPÜá. (C) 1 – b, 2 – d, 3 – a, 4 – c (A) Óæ°àÖÜ (D) 1 – b, 2 – d, 3 – c, 4 – a (B) ¨æàÖÜ ÓÜí±ÜPÜì 23. i. ¹. hæãàÑ¿áÊÜÃÜ PÝÊÜ®ÝÊÜá (C) PÜ|á¡ ÓÜí±ÜPÜì (A) gvæ »ÝÃÜñÜ (B) gvÜ »ÜÃÜñÜ (D) PÜ|á¡ ÓÜí±ÜPÜì CÆÉ (C) hæãàÆá »ÜÃÜñÜ 28. Cí±ÜäÅÊæçhæàÐÜ® Gí¨ÜÃæ (D) hæç »ÝÃÜñÜ (A) Ôð± rWæÜ ñÜPÜRíñæ ®ÜqÓÜáÊÜâ¨Üá 24. ""PÝÅí£ ŸíñÜá PÝÅí£'' ®ÝoPÜ¨Ü PÜñÜêì (B) ¸æÙÜPÜ®Üá° ÖæbcÓÜáÊÜâ¨Üá (A) ÎÊܱÜÅPÝÍ (C) CñÜÃæ ®ÜoÃÜ®Üá° ×í©PÜáRÊÜíñæ ®ÜqÓÜáÊÜâ¨Üá (B) PÝ®Ýìv (C) PÜí¸Ýà (D) ¯¨æìàÍÜPÜÃÜá ÓÜãbԨܪ®Üá° A¼ÊÜꩱÜwÓÜáÊÜâ¨Üᜠ(D) ÆíPæàÍ ². 29. ²àQíW J±æÃÝ PÜívÜá ŸÃÜáÊÜ ¨æàÍÜ 25. WÜáí²Wæ ÓæàÃܨܪ®Üá° WÜáÃÜá£Ô. (A) bà®Ý (A) wPÜÒ® (B) Cíw¿Þ (B) Cípæãà®æàÐÜ® (C) AŸÕà ÊæàÐÜ® (C) ¥Ý¿å ÇÝÂív (D) ²a (D) g±Ý® Paper III 8 K-3917 *K3917* Total Number of Pages : 24 22. Match the authors with their plays : 26. The last often concave white curtain/wall List – A List – B on the stage is called 1. a. Kiragurina Gayyaligalu (A) Psychodrama 2. Devanura b. Jalagara (B) Best curtain Mahadeva (C) Wall curtain 3. Tejaswi K. P. c. Mahachaitra 4. Shivaprakash H.S. d. Kusumabale (D) Cyclorama (A) 1 – d, 2 – b, 3 – c, 4 – a 27. On the stage while performing the actor (B) 1 – c, 2 – b, 3 – d, 4 – a needs to make ______with the audience. (C) 1 – b, 2 – d, 3 – a, 4 – c (A) Friendship (D) 1 – b, 2 – d, 3 – c, 4 – a (B) Body contact 23. Identify the Penname of G.B. Joshi. (C) Eye contact (A) Jade bharatha (D) No-eye contact (B) Jadabharatha (C) Jolu bharatha 28. Improvisation means (D) Jai bharatha (A) Acting according to the script

24. The author of “Kranti Bantu Kranti” (B) Improving the lighting

(A) Shivaprakash (C) Overshadowing other actors (B) Karnad (D) Developing on what the director as (C) Kambar suggested (D) Lankesh P. 29. Peaking opera is from 25. Pick the odd one out. (A) China (A) Diction (B) India (B) Intonation (C) Observation (C) Thailand (D) Pitch (D) Japan K-3917 9 Paper III *K3917* Total Number of Pages : 24 30. ÓÝÊÜÞiPÜ ®ÝoPÜWÜÙÜÈÉ ÓÝÊÜÞ®ÜÂÊÝX ŸÙÜÓÜáÊÜ 34. ÊæãàÈ¿áà ÊæáàPܱ (A) ¹ÅqàÐ ®ÝoPÜPÝÃÜ

(A) PÝÂÃÜPÜrà ÊæáàPܱ (B) ´æÅía ®ÝoPÜPÝÃÜ

(B) ÓÜRÇ ³aÜà ÊæáàPܱ (C) gÊÜáì® ®ÝoPÜPÝÃÜ

(C) ÊæáàPܱ CÆÉ (D) ÃÜÑ¿ᮠ®ÝoPÜPÝÃÜ (D) ÊæãÓÝÀáP ÊæáàPܱ 35. ®æãàÃÝ G®Üá°ÊÜ ±ÝñÜÅÊÜ®Üá° ÓÜêÑrst ®ÝoPÜPÝÃÜ 31. EÔÃÝo¨Ü A»ÝÂÓÜWÜÙÜá D PÝÃÜ|PÝRX JÙæÛ¿á¨Üá (A) Ôóív ŸWÜìà (A) ¨æàÖÜ (B) CŸÕ® (B) «Ü̯ (C) Aípæãà¯Áãà ±æä±æäËP (C) ÓÜíXàñÜ ±ÜÅhæn (D) ¸æÅP r (D) ¯¨æìàÍÜPÜñÜÌ

36. PÜÇÝÄ C¨Üá 32. ±Üäà ¦Ááàoà (ÄPܤ ÃÜíWÜ»ÜãËá)¿á ±ÜÄPÜƳ®æ (A) ÆÈñÜ PÜÇæ (´æç® Bp ì) (A) Êæáà¿áà ÖæãàÇ x®Ü¨Üáª

(B) ±ÜűÜíaÜ¨Ü ŸvÜg®ÜÃܨÜ᪠(B) ÓÜíXàñÜ PÜÇæ (ÊÜáãÂÔPÜÇ Bp ì)

(C) WæãÅàpæãàÊ ÕQ (C) ¿áá¨Üœ PÜÇæ (ÊÜÞÐÜìÇ Bp ì)

(D) ÖÜξ (D) ®ÜêñÜ ±ÜÅPÝÃÜ (vÝ® Õ ´ÝÊÜå ì)

33. ñæãvÜÃÜá ±Ü¨ÜWÜÙÜ A»ÝÂÓÜ©í¨Ü EñܤÊÜáWæãÙÜáÛÊÜ 37. PÜã Ñàp ÊÜááS HPæí¨ÜÃæ PèÍÜÆ (A) ÓÜí»ÝÐÜOæWÜÙÜ EaÝfÃÜOæWæ (A) ÓÜí»ÝÐÜOæ ÖæàÙÜáÊÜ PÜÇæ (B) ÊÜÓÜ÷ Ë®ÝÂÓÜPæR (B) ±Üía Öæãvæ¿ááÊÜ PÜÇæ (C) ±ÜÅÓÝ«Ü®ÜPæR (C) ®ÜêñÜ PèÍÜÆ (D) ¸æÙÜPÜá Ë®ÝÂÓÜPæR (D) ¸æÙÜQ®Ü PèÍÜÆ Paper III 10 K-3917 *K3917* Total Number of Pages : 24

30. In social plays the make-up normally 34. Moliear was a would be (A) British playwright (A) Character make-up (B) French playwright (B) Sculpture make-up (C) German playwright (C) No make-up (D) Russian playwright (D) Mosaic make-up

35. Nora is a character which became 31. Breathing exercises are good to cultivate famous through a play written by

(A) Body (A) Strind Berger

(B) Voice (B) Ibsen

(C) Sense of music (C) Antonio Popovic

(D) Directorship (D) Brecht

32. Poor theatre is a concept developed by 36. Kaleri is a

(A) Mayerhold (A) Fine art

(B) Poor people of the world (B) Musical art

(C) Grotowski (C) Martial art

(D) Hasmi (D) Dance form

33. Tongue Twisters are good to develop 37. Cue sheet is necessary for

(A) Dialogue delivery skills (A) Delivering dialogues

(B) Punching skills (B) Costume

(C) Dancing skills (C) Make up

(D) Lighting skills (D) Lighting

K-3917 11 Paper III *K3917* Total Number of Pages : 24 38. Bí² ÃÜíWÜÓܧÙÜWÜÙÜá ÖæaÝcX PÜívÜá ŸÃÜáÊÜâ¨Üá 41. ÖæàÚPæWÜÙÜ®Üá° ±ÜÄàQÒÔ :

(A) g±Ý® ®ÜÈÉ I) Êæà~ÓÜíÖÝÃÜ ÊÜáñÜᤠÃÜñÝ°ÊÜÚ¿áÈÉ E¨ÝÖÜÃÜOÝ (B) CíWæÉív ®ÜÈÉ ÃÜã±ÜÊÝX ÖæàÚÃÜáÊÜíñæ ¨ÜÍÜÃÜã±ÜPÜÊÜâ ÓÜíÓÜ¢ñÜ

(C) ´ÝÅ® Õ®ÜÈÉ ®ÝoPÜWÜÙÜ ±ÜÄ»ÝÊÜ®Ý ÃÜã±ÜÊæà BX¨æ.

(D) XÅàÓ ®ÜÈÉ II) Êæà~ÓÜíÖÝÃÜÊÜâ BÃÜá AíPÜWÜÙÜ ®ÝoPÜ A¨Üá »Üor ®ÝÃÝ¿á|¯í¨Ü ÃÜã²ñÜWæãíw¨Ü᪠39. WÜáí²Wæ ÓæàÃÜ¨Ü ±Ü¨ÜÊÜ®Üá° WÜáÃÜá£Ô. ÃÝÊÜÞ¿á| ®Ý¿áPÜÃÜ®Üá° ËÊÜÄÓÜáñܤ¨æ.

(A) PÝÃÜ|í (A) I ÊÜáñÜᤠII GÃÜvÜã ÓÜÄ

(B) ¯Ëáñܤí (B) I ÊÜáñÜᤠII GÃÜvÜã ñܱÜâ³

(C) ÖæàñÜá (C) I ÓÜÄ II ñܱÜâ³ (D) II ÓÜÄ I ñܱÜâ³ (D) aÝÄ

42. ®ÝoÂÍÝÓÜ÷¨Ü ±ÜÅPÝÃÜ AÓÜí¿ááñÜ ÖÜÓܤWÜÙÜ®Üá° PÜÅÊÜáÊÝX 40. Öæãí©Ô ŸÃæÀáÄ : ÃÜã²Ô. List – I List – II (A) PÜoPÝÊÜááS, ÎSÃÜ, F|ì®Ý»Ü, ÊÜááPÜáÙÜ a. Áãà¿áí£Å »ÝÐÝ i. ¨æçËPÜ (B) F|ì®Ý»Ü, PÜoPÝÊÜááS, ÊÜááPÜáÙÜ, ÎSÃÜ b. B¿áì »ÝÐÝ ii. ÓÝÊÜޮܠg®ÜÃÜ (C) ÎSÃÜ, F|ì®Ý»Ü, PÜoPÝÊÜááS, ÊÜááPÜáÙÜ »ÝÐÝ (D) ÎSÃÜ, PÜoPÝÊÜááS, ÊÜááPÜáÙÜ, F|ì®Ý»Ü

c. hÝ£ »ÝÐÝ iii. ±ÝÅ~ »ÝÐÝ 43. D PÝÊÜ ÃÜÓÜ¨Ü EQ¤¿á®Üá° E¨ÜYÄÔ¨ÜÊÜÃÜá d. A£ »ÝÐÝ iv. ÓÜgj®ÜÃÜ »ÝÐÝ ""ÃÜÓÜ ŸÅÖܾÓÝÌ¨Ü®Ü ÓÜÖæãà¨ÜÃÜ@ '' Code: ŸÅÖܾ®Ü ÓÝPÝÒñÜRÃÜ|PæR ÃÜÓÜÊÜâ ÓܨÜêÍÜÊÝX¨æ. abcd (A) »ÜÃÜñÜ (A) i ii iii iv (B) ÇæãÆÉo (B) ii iii i iv

(C) iii iv ii i (C) A¼®ÜÊÜWÜá±Ü¤

(D) iv i iii ii (D) B®Üí¨ÜÊÜ«Üì®Ü Paper III 12 K-3917 *K3917* Total Number of Pages : 24

38. Ampi Theatres were found majorly in 41. Examine the following two statements for veracity of information : (A) Japan I) The Dasharupaka– is replete with references to Sanskrit plays that are (B) England quoted as examples including Venisamhara and Ratnavali. (C) France II) Venisamhara is a six act play by (D) Greece Bhatta Narayana that describes excerpts from the Ramayana. 39. Mark the odd one out. (A) Both I and II are true (B) Both I and II are false (A) Karanam– (C) I is true II is false (B) Nimittam (D) II is true I is false (C) Hetu 42. Arrange the following in sequence as – (D) Cari described in the N–atyash–astra in Asamyuta Hasta. 40. Match the following : (A) Katakamukha,– Shikhara,Urnanabha,– Mukula List – I List – II (B) Urnanabha,– Katakamukha,– Mukula, a. Yoyantri Bhash– –a i. Celestial Shikhara – – – b. Arya Bhasha ii. Common (C) Shikhara, Urnanabha,– Katakamukha,– people Mukula – c. Jati– Bhash– a– iii. Animals (D) Shikhara, Katakamukha, Mukula, Urnanabha– d. Ati Bhasha– iv. Nobility

Code: 43. The following description of Kavya Rasa was defined by which of the following abcd scholars ? ‘Rasa Brahmasv–adanasahodarah’ (A) i ii iii iv Rasa is akin to the realisation of Brahma. (B) ii iii i iv (A) Bharata (B) Lollata (C) iii iv ii i (C) Abhinavagupta (D) iv i iii ii (D) Anandavardhana K-3917 13 Paper III *K3917* Total Number of Pages : 24 44. D ÖæàÚPæ¿á ÓܳÐÜrñæ¿á®Üá° £ÚÔ. 47. D PæÙÜPÜívÜ ¸ÝÂÇæWÜÙÜÈÉ JŸº¯í¨ÜÇæà ÃÜbñÜÊÝWÜ¨Ü I) JwÔÕ ®ÜêñÜ嬆 aÜÄñæÅ¿áá ®ÝoÂÍÝÓÜ÷¨ÜÈÉ ¸ÝÂÇæ¿á ÃÜaÜ®ÝPÝÃÜ PÜívÜáŸí©ÃÜáÊÜíñæ 1®æà ÍÜñÜÊÜÞ®Ü¨Ü ×í¨æ C¨Üª (A) ÓÝÌ® ÇæàP EŸáº bñÜÅ|¨Ü ÊÜáãÆPÜ £Ú¨Üá ŸÃÜáñܤ¨æ. (B) iÓæÇæÉ II) JwÔÕ ÍæçÈ¿á 3 ÓÜí±ÜŨݿáWÜÙÜÈÉ WæãࣱÜâÊÜÌ (C) © ®Üp PÝÅPÜà Jí¨æà ÓÜÊÜÞg¨ÜÈÉ Óݧ®ÜÊÜ®Üá° ±ÜvæÀáñÜá HPæí¨ÜÃæ C¨Üá ¿ááÊÜ ¸ÝÆPÜÄí¨Ü (D) ÔÉà²íW ŸãÂq ±ÜŨÜÎìñÜWæãÙÜáÛ£¤ñÜá¤. 48. ®ÝoÂÍÝÓÜ÷¨ÜÈÉ PÜívÜá ŸÃÜáÊÜ 10 Ë«Ü¨Ü ²Åࣿá®Üá° (A) I ÊÜáñÜᤠII GÃÜvÜã ÓÜÄ BÃæãàÖÜ|ÊÝX hæãàwÔ. (B) I ÓÜÄ II ñܱÜâ³ (A) gvÜñÜ, ËÇݱÜ, A¼ÇÝÐÝ, E¨æÌàWÜ (C) II ÓÜÄ I ñܱÜâ³ (B) ËÇݱÜ, E¨æÌàWÜ, gvÜñÜ, A¼ÇÝÐÝ (D) I ÊÜáñÜᤠII GÃÜvÜã ñܱÜâ³ (C) A¼ÇÝÐÝ, E¨æÌàWÜ, ËÇݱÜ, gvÜñÜ

45. ÓÜÄ¿Þ¨Ü EñܤÃÜÊÜ®Üá° WÜáÃÜá£Ô : (D) A¼ÇÝÐÝ, ËÇݱÜ, gvÜñÜ, E¨æÌàWÜ ±ÜÅÓÜá¤ñÜ ÊÜá~±ÜâÄ ®ÜêñÜÂPæR Z®Üñæ¿á®Üá° ñÜí¨Üá 49. PÜ¥ÜPÜRÚ¿áÈÉ ŸÙÜPæ¿ÞWÜ¨Ü aÜÊÜáìÊݨÜÂÊÜ®Üá° PæãorÊÜÃÜá WÜáÃÜá£Ô. (A) ÃÝg PÜÖÜWæíŸ (A) aÜívæ (B) ÃÝg »ÝWÜÂaÜí¨ÜÅ (B) ÊÜá¨ÜªÙæ (C) ÃÝg ±ÜíbŸ (C) Zoí (D) ÃÝg ¯íW ñÝÊ PÜíW º (D) CvÜPÜRí 46. ÖæàÚPæWÜÙÜ ÓܳÐÜrñæ¿á®Üá° ¯ÃÜã²Ô : 50. D PæÙÜX®Ü ÖæàÚPæWÜÙÜ®Üá° ±ÜÄÎàÈÔ. I) Danish ÊÜáñÜᤠRussian ¸ÝÂÇæWÜÙÜá Jí¨æà ÓÜÊÜá¿á¨ÜÈÉ ¸æÙÜQWæ Ÿí¨ÜÊÜâ. A¨Üá 16®æà I) Êæãàׯ Borí ÊÜáÖÝÃÝg ÓÝÌ£ £ÃÜáÙÝ®ÜÃÜ ÍÜñÜÊÜÞ®ÜÊæ®Üá°ñݤÃæ. ÓÜíÓݧ®Ü¨ÜÈÉ WÜáÃÜá£ÓÜƳqrñÜá. II) Tchaikovsky ¿á Swan lake ¸ÝÂÇæ¿áá II) B ±ÜŨæàÍÜ¨Ü 11®æà ÍÜñÜÊÜޮܨÜÈɨܪ ¨æàÊÝÆ¿á Êæã¨ÜÆ®æ¿á¨ÝX¨Ü᪠ÖæÓÜÃÝíñÜ ÃÜÐÜ® Pæñܤ®æWÜÙÜ ÊÜáãÆPÜ Êæãàׯ Borí ®ÜêñÜ ±ÜÅaÜÈñÜ ¸ÝÂÇæÁãí©Wæ ÓæàÃÜƳqrñÜᤙ. Ë©ªñæí¨Üá B«ÝÃÜÓÜ×ñÜ ¨Üê{àPÜÄÓÜáñܤ¨æ. (A) I ÊÜáñÜᤠIIGÃÜvÜã ÓÜÄ (A) I ÓÜÄ II ñܱÜâ³ (B) I ÓÜÄ II ñܱÜâ³ (B) II ÓÜÄ I ñܱÜâ³ (C) II ÓÜÄ I ñܱÜâ³ (C) I ÊÜáñÜᤠII GÃÜvÜã ÓÜÄ (D) I ÊÜáñÜᤠII GÃÜvÜã ñܱÜâ³ (D) I ÊÜáñÜᤠII GÃÜvÜã ñܱÜâ³ Paper III 14 K-3917 *K3917* Total Number of Pages : 24 44. Examine the following statements for the 47. Which of the following ballets is not from veracity of information : the same composer ? I) Odissi history can be traced to (A) Swan Lake references in the Natyashastra from (B) Giselle dances of the region and bas-relief depictions dating back to the (C) The Nutcracker 1st Century B.C. (D) Sleeping Beauty II) Of the three traditions of Odissi, only Gotipua survived without being 48. Arrange in order of progression as – – extinguished from society as it was detailed in the Natyashastra as the performed by young boys. 10 stages of love. – – – (A) Both I and II are true (A) Jadata, Vilapa, Abhilasha, Udvega (B) Vilapa,– Udvega, Jadata,– Abhilasha– (B) I is true II is false (C) Abhilasha,– Udvega, Vilapa,– Jadata– (C) II is true I is false (D) Abhilasha,– Vilapa,– Jadata,– Udvega (D) Both I and II are false

49. Mark the odd one out from the following 45. Mark the correct answer : set of percussion instruments used in The present form of Manipuri is attributed to Kathakali. (A) King Kahagemba (A) Chenda (B) King Bhagyachandra (B) Maddalam (C) King Pamhciba (C) Ghatam (D) King Ningthou Kangba (D) Idakkam 46. Examine the following statements for veracity of information : 50. Examine the following statements for veracity of information. I) Both Danish and Russian ballet emerged around the same time. This I) Mohiniyattam attained significance is dated to be in the 16th century. under the patronage of Maharaja Swati Tirunal. II) Swan Lake, set toTchaikovsky’s ballet score was the first ballet to be II) However, evidence of Mohiniyattam th associated with popular Russian have also been found in 11 century ballet. temple carvings in the region. (A) I and II are both true (A) I is true II is false (B) I is true II is false (B) II is true I is false (C) II is true I is false (C) Both I and II are true (D) I and II are both false (D) Both I and II are false K-3917 15 Paper III *K3917* Total Number of Pages : 24 51. ÓÜÄ¿Þ¨Üá¨Ü®Üá° WÜáÃÜá£Ô : 54. GÃÜvÜá ÖæàÚPæWÜÙÜ®Üá° ±ÜÄÎàÈÔ : I) PÜãb±Üâw ±ÜâÃÜáÐÜ ±ÜÅ«Ý®Ü ÍæçÈ¿ÞXÁáà ×®æ°Çæ WÝ¿áPÜÃÜ ¯«ÜìÄñÜ ÓܧÙÜÊÜ®Üá° ÃÜã²Ô¨Ü ÍÜñÜÊÜÞ®ÜWÜÙÜÊÜÃæWÜã EÚ©ñÜᤠHPæí¨ÜÃæ ®ÜñÜìPÜÃÜá Ô÷à¿áÃÜá AÊÜÃÜÈÉÃÜáÊÜ B«ÝÂñܾ »ÝÊÜÊÜ®ÜᰠΦÆWæãÚÓÜáÊÜâ¨Üá GíŸ »Ü¿á©í¨ÝX. (A) D. PÜêÐÜ¡ A¿áÂà II) WÜáÃÜá Ô¨æªàí¨ÜÅ ÁãàX Ô÷à ±ÝñÜÅÊÜ®Üá° (B) ¸ÝÆÓÜÃÜÓÜÌ£ ±ÜÄaÜÀást PÝÃÜ|PÜñÜì. (A) GÃÜvÜã ÖæàÚPæWÜÙÜá ÓÜÄ (C) ÃÜáQ¾~ ¨æàË AÃÜáí¨æàÇ (B) GÃÜvÜã ÖæàÚPæWÜÙÜá ñܱÜâ³ (D) Ëáà®ÝQÒà ÓÜáí¨ÜÃÜí ²ÙæÛ$ç (C) I ñܱÜâ³ II ÓÜÄ (D) II ñܱÜâ³ I ÓÜÄ 52. »èËá aÝÄ¿á PÜÅÊÜáÊÜ®Üá° WÜáÃÜá£Ô. 55. ÓÜÄ¿Þ¨Üá¨Ü®Üá° WÜáÃÜá£Ô : (A) ÓÜÊÜá±Ý¨Ü, Ÿ¨Üœ , g¯ñÜ, Ô§ñÝÊÜñÜì PÜ¥ÜP ®ÜêñÜ嬆 ¸æÙÜÊÜ~Wæ¿áÈÉ ±æäÅàñÝÕ×st ÓÜíÓݧ®Ü (B) ÓÜÊÜá±Ý¨Ü, Ô§ñÝÊÜñÜì, Ÿ¨Üœ , g¯ñÜ (A) ÊæãÖÜÊÜᾩ S®Üí

(C) Ô§ñÝÊÜñÜì, ÓÜÊÜá±Ý¨Ü, g¯ñÜ, Ÿ¨Üœ (B) AÊÜáj¨ BÈ ÍÜÖÜ (C) ÊÝiਠBÈ ÍÜÖÜ (D) Ÿ¨Üœ™, g¯ñÜ, Ô§ñÝÊÜñÜì, ÓÜÊÜá±Ý¨Ü (D) ÊÜiàà BÈ TÝ®

53. Öæãí©Ô ŸÃæÀáÄ : 56. D PæÙÜX®Ü ÖæàÚPæWÜÙÜÈÉ ÓÜÄ¿Þ¨ÜÊÜâWÜÙÜá ¿ÞÊÜâÊÜâ ? I) ÓÜÊÜáPÝÈà®Ü ®ÜêñÜÂ&aÜÆ®æ »ÜãËá¿á®Üá° ÖæaÝcX a. £ÇÝÉ®Ü i. PÜãb±Üâw B«ÜÄÔ¨ÜÃæ, hÝh ŸÖÜÙÜ ËÃÜÙÜÊÝX b. ñÜÃÝ®Ü ii. JwÔÕ »ÜãËá¿á®Üá° ŸÙÜÓÜáñܤ¨æ. II) ¨æàÖÜ¨Ü ±ÜÅñæÂàPÜñæ ÊÜáñÜᤠJí¨ÜÄí¨Ü C®æ㰙í¨Üá c. ñÜÃÜíWÜí iii. PÜ¥ÜP aÜÆ®æWæ ÖæãÃÜÙÜáÊÜâ¨Ü®Üá° ¯©ìÐÜrÊÝX d. ±ÜÆÉË iv. »ÜÃÜñÜ®ÝoÂí ñæãàÄÓÜáÊÜâ¨Üá GÃÜvÜã ®ÜêñÜ ˫ݮÜWÜÚWæ Jí¨æà BX¨æ. Codes : III) ÓÜÊÜáPÝÈà®Ü ®ÜêñÜÂÊÜâ ÓÜáÆÈñÜ ¨ÜÅÊÜÂÃÜã² aÜÆ®æ Öæãí©¨ÜªÃæ hÝh gQì¿Þ¨Ü aÜÆ®æ abcd Öæãí©ÃÜáñܤ¨æ. (A) i ii iii iv IV) hÝh ®ÜêñÜÂPæR ÓÜíXàñÜ ®æàÃÜÊÝ¨Ü AWÜñÜÂÊݨÜÃæ, ÓÜÊÜáPÝÈà®Ü ®ÜêñÜ ÓÜíXàñÜËÆɨæ¿áã (B) iii iv ii i CÃܟÆáɨÜá. (C) ii i iv iii (A) I, II ÊÜáñÜᤠIII (B) IÊÜáñÜᤠIII

(D) iv iii i ii (C) II, III ÊÜáñÜᤠIV (D) I, III ÊÜáñÜᤠIV Paper III 16 K-3917 *K3917* Total Number of Pages : 24 51. Mark the correct answer : 54. Examine both statements for the veracity of information : The practice of seating the musicians to I) Kuchipudi remained a male the right of the dancer was started by dominated form exclusively for centuries in the fear that women (A) E. Krishna Iyer would dilute the spiritual context. (B) Balasaraswati II) Guru Siddendra Yogi was responsible for the inclusion of women. (C) (A) Both statements are true (D) Meenakshi Sundaram Pillai (B) Both statements are false (C) I is false II is true - 52. Mark the correct order of the Bhaumi (D) II is false I is true - Car– is. 55. Mark the correct answer : (A) Samapada, Baddha, Janita, Kathak owes a great deal of its Sthita varta development to the patronage and beneficence of (B) Samapada, Sthitavarta, Baddha, Janita (A) Muhammadi Khanum (B) Amjad Ali Shah (C) Sthitavarta, Samapada, Janita, Baddha (C) Wajid Ali Shah (D) Wazir Ali Khan (D) Baddha, Janita, Sthitavarta, Samapada 56. Which of the following statements are true with regard to difference between 53. Match the following : jazz and contemporary dance ? a. Thillana i. Kuchipudi I) Contemporary dancing uses a great deal of floor work while jazz rarely b. Tharana ii. Odissi does c. Tharangam iii. Kathak II) Body isolation and clean transitions d. Pallavi iv. are imperative for both jazz and contemporary Codes : III) Contemporary dance is fluid and abcd lyrical while jazz is more jerky in comparison (A) i ii iii iv IV) Jazz has a very direct relationship (B) iii iv ii i with music but contemporary may also be performed without music (C) ii i iv iii (A) I, II and III (B) I and III (D) iv iii i ii (C) II, III and IV (D) I, III and IV

K-3917 17 Paper III *K3917* Total Number of Pages : 24 57. ÓÜÊÜáPÝÈà®Ü ®ÜêñÜ嬆 ËÊÜÃÜOæ¿áÆɨܪ®Üá° WÜáÃÜá£Ô. 60. D ÖæàÚPæWÜÙÜ PÝÇÝ®ÜáPÜÅÊÜáÊÜ®Üá° WÜáÃÜá£Ô. 1. ®ÜêñÜÂÊÜâ WÜ~PÝ ÊÜ꣤¿ÞXñÜá¤. ÓÜÊÜáPÝÈà®Ü ®ÜêñÜÂÊÜâ D PæÙÜX®ÜÊÜâWÜÙÜ®Üá° 2. ®ÜêñÜÂWÝ£ì¿áÃÜá ÓÝíÓÜ¢£PÜÃÜá ÖÝWÜã ÊÜáÖÜñÜÌÊæí¨Üá PÝ|áñܤ¨æ. ÓÜáÎQÒñÜÃæí¨Üá ±ÜÅñæÂàPÜÊÝX WÜáÃÜá£ÓÜƳorÊÜÃÜá. (A) ÓæãÌà±Ügnñæ (JÄi®ÝÈq) 3. ®ÜêñÜÂÊÜâ ¨æçËPÜ Ë¨æÂÁá¯ÔñÜá¤. 4. ®ÜêñÜÂÊÜâ Jí¨Üá ÓÜíÊÜÖÜ®Ü Ë¨æ¿ÞXñÜá¤. (B) AíñÜà ÎÔ¤à¿áñæ (Cíoà wԲɮÜÄ) (A) 1 2 3 4 (B) 2 3 4 1 (C) ¯©ìÐÜr ÓÜíÃÜaÜ®æ (w´æç® v ÓÜóPÜcà ) (C) 3 2 1 4 (D) ÖæãÓÜñÜ®Ü (C®æã°àÊæàÐÜ® ) (D) 4 1 2 3

61. ÓÜÄ¿Þ¨Ü EñܤÃÜÊÜ®Üá° BÁáR ÊÜÞw. 58. D PæÙÜX®Ü ÖæàÚPæWÜÙÜ®Üá° ±ÜÄàQÒÔ. ñÜíhÝÊÜäÃÜá ÓÜÖæãà¨ÜÃÜÃÜá I) ÊÜá~±ÜâÄ ®ÜêñÜÂÊÜâ ®Üp ÓÜíXàñÜ ÍæçÈ¿á (A) b®Ü°¿á ²ÙæÛ$ç , Ëáà®ÝQÒ ÓÜáí¨ÜÃÜí ²ÙæÛ$ç , ×®æ°Çæ¿á®Üá° Öæãí©Êæ HPæí¨ÜÃæ ±æä®Ü°¿á ²ÙæÛ$ç ÊÜwÊæàÆá ÖÝvÜáWÝÄPæ¿áá ñÝÃÜÓݧÀá¿á ÍæçÈ¿áÇæÉà (B) Ëáà®ÝQÒ ÓÜáí¨ÜÃÜí ²ÙæÛ$ç , ÎÊÝ®Üí¨Ü ²ÙæÛ$ç™, WÜáÃÜá£ÓÜƳqr¨æ. b®Ü°¿á ²ÙæÛ$ç , ±æä®Ü°¿á ²ÙæÛ$ç (C) b®Ü°¿á ²ÙæÛ$ç , ±æä®Ü°¿á ²ÙæÛ$ç , ÓܨÝÎÊÜí ²ÙæÛ$ç , II) ®Üp ×®æ°Çæ ÍæçÈ¿áá ×í¨ÜãÓݧ¯ ÓÜíXàñܨÜÜ ÊÜwÊæàÆá ÃÝWÜñÝÙÜ PÜÅÊÜáÊÜ®æ°à ÊÜáãÆÊÝX Öæãí©¨æ. (D) b®Ü°¿á ²ÙæÛ$ç , ÊÜwÊæàÆá, ±æä®Ü°¿á ²ÙæÛ$ç™, (A) GÃÜvÜã ÖæàÚPæWÜÙÜá ÓÜÄ ÎÊÝ®Üí¨Üí ²ÙæÛ$ç

(B) GÃÜvÜã ÖæàÚPæWÜÙÜá ñܱÜâ³ 62. ¨æàÊܨÝÔ¿áÃÜ®Üá° AÊÜÃÜ PÝ¿áì¨æãí©Wæ WÜáÃÜá£Ô. ±Üqr – I ±Üqr – II (C) I ÓÜÄ II ñܱÜâ³ a. ËQÅñÜ i. ¯ÎcñÜ PÝ¿áì (D) II ÓÜÄ I ñܱÜâ³ b. »ÜêñÜ ii. PæãívÜá/PæãÙÜáÛÊÜâ¨Üá c. Wæãà²PÜ iii. A±ÜÖÜÄÓÜáÊÜâ¨Üá

59. WÜáí²Wæ ÓæàÃܨܪ®Üá° WÜáÃÜá£Ô. d. ÖÜêñÜ iv. ÓæàÊÜQ Code : (A) ÔƱܳ©PÝÃÜí abcd (B) ñæãàÆPܲ³¿áí (A) i iii ii iv (B) ii iv i iii (C) ñæàÊÝÃÜí (C) iii ii iv i (D) iv i iii ii (D) ÊÜá~ÊæáàPÜRÇæç Paper III 18 K-3917 *K3917* Total Number of Pages : 24 57. Mark the word that does not describe the 60. Arrange the following statements in logical progression of chronology in the essence of contemporary dance. social context. The emphasis of contemporary dance 1. Dance was considered a form of prostitution is on 2. Dancers were some of the most culturally and educationally (A) Originality accomplished individuals (B) Interdisciplinarity 3. Dance was considered a form of divinity (C) Defined structure 4. Dance was considered a means of communication (D) Innovation (A) 1 2 3 4 (B) 2 3 4 1 (C) 3 2 1 4 (D) 4 1 2 3 58. Examine the two following statements for 61. Choose the correct answer from the veracity of information : following : I) Manipuri dance form is accompanied The four brothers known as the Tanjore Quartette were by a musical style called ‘Nat’ that is (A) Chinnaiah Pillai, Meenakshi easily recognized due to the high Sundaram Pillai, Ponnaiah Pillai, pitch of singing. Vadivelu (B) Meenakshi Sundaram Pillai, II) Nat is based on the raga and tala Sivananda Pillai, Chinnaiah Pillai, system of the Hindustani genre of Ponnaiah Pillai (C) Chinnaiah Pillai, Ponnaiah Pillai, music. Sadasivam Pillai, Vadivelu (A) Both statements are true (D) Chinnaiah Pillai, Vadivelu, Ponnaiah Pillai, Sivanandam Pillai (B) Both statements are false 62. Match the following types of (C) I is true II is false with their description : List – I List – II (D) II is true I is false a. Vikrita i. Specific task b. Bhritya ii. Bought/sold 59. Identify the odd one out. c. Gopika iii. Abducted d. Hruta iv. Servant – (A) Silappatikaram Code: (B) Tholkappiam– abcd (A) i iii ii iv (C) Thev– aram– (B) ii iv i iii (C) iii ii iv i (D) Manimekkalai (D) iv i iii ii K-3917 19 Paper III *K3917* Total Number of Pages : 24 63. ¨ÜQÒ|¨ÜÈÉ ËÍæàÐÜÊÝX ÍÝÔ÷à¿á ®ÜêñÜÂWÜÙÜ ÓÜÌÃÜã±Ü 66. D PæÙÜX®Ü ÖæàÚPæWÜÙÜ ÊÜÞ×£¿á ÓÜíŸí«ÜÊÜ®Üá° ÊÜáñÜᤠÃÜã±Ü&ÊÜ|ì®æÜWÜÙÜá BÙÜÊÝX ÎƳPÜÇæÀáí¨Ü ±ÜÄàQÒÔ. I) ÃÝÓÜÈàÇÝ ÊÜá~±ÜâÃÜ ®ÜêñܨÜÈÉ ÖæÓÜÃÝíñÜ ±ÜÅ»ÝËñÜÊÝX¨æ. 108 PÜÃÜ|WÜÙÜ Jí¨Üá AñÜáÂñܤÊÜá ®ÜêñÜÂÊæí¨Üá WÜáÃÜá£ÓÜƳqr¨æ ®ÜêñÜ ¯ÃÜã±ÜOæ¿áá D ¨æàÊÝÆ¿á¨ÜÈÉ PÜívÜá II) ÊÜá~±ÜâÃÜ ÊæçÐÜ¡ÊÜÜ ±Üí¥Ü¨Ü ÃÝg®Ü ®Üí¹PæÀáí¨Ü ŸÃÜáÊÜâ¨Üá AÈÉ¿á PÜÇæ ÖÝWÜã ÓÝíÓÜ¢£PÜ AÓÝ̼PÜÊæ¯ÔñÜá. (A) SgáÃÝÖæãà (A) I ÊÜáñÜᤠII GÃÜvÜã ÓÜÄ B¨ÜÃæ Jí¨ÜPæãRí¨Üá ÓÜíŸí—ÔÆÉ (B) ¸æàÆãÃÜá & ÖÜÙæ¹àvÜá (B) I ÊÜáñÜᤠII GÃÜvÜã ñܱÜâ³ (C) b¨ÜíŸÃÜí (C) I ÓÜÄ II A¨ÜPæR ±ÜäÃÜPÜÊÝX¨æ (D) ñÜíhÝÊÜäÃÜá (D) II ÓÜÄ ÊÜáñÜᤠI EñܤÃÜ II Wæ ±ÜäÃÜPÜÊÝX¨æ

64. ÖæàÚPæWÜÙÜ®Üá° ±ÜÄàQÒÔ. 67. JwÔÕ ®ÜêñܨÜÈÉ ŸÙÜÓÜ¨Ü ÊݨÜÂÊÜ®Üá° WÜáÃÜá£Ô. (A) ±ÜTÝÊÝg (B) ËàOÝ I) ®ÜêñÜÂÖÜÓܤ ÊÜáá¨æÅWÜÙÜá ÊÜáñÜᤠÖÜÓܤ˯ÁãàWÜWÜÙÜá ¸Ý®ÜÕáÄ (D) ÊÜáíiÃÜ ÁãàWÜ ÊÜáá¨æÅWÜÙæãí©Wæ A¥ÜÊÝ (C) «Ý®ÜÖÜÓܤWÜÙæãí©Wæ ÖæãàÈPæÜÀá¨æ. 68. ÃÝÊÜÞ¿á|¨Ü 6 »ÝWÜWÜÙÜ®Üá° »ÜÃÜñÜ®Ýo¨ÜÈÉ ÓÜíÁãàiÔ¨ÜÊÜÃÜá II) »ÝÃÜ£à¿á ®ÜêñÜÂWÜÙÜá BÃÝ«Ü®Ý ÃÜã±Ü B¨ÜªÄí¨Ü (A) ±Ü¨Ü¾ ÓÜáŸÅÖܾ|Âí ÖÜÓܤÊÜáá¨æÅWÜÙÜ ŸÙÜPæ ÊÜáñÜᤠÓݧ®ÜÊÜ®Üá° (B) ÓÜÃæãàhÝ Êæç¨Ü®ݥܮ ¯SÃÜÊÝX £ÚÔÊæ. (C) ÃÜáQ¾~à ¨æàË AÃÜáí¨æàÇ (A) GÃÜvÜã ÓÜÄ (D) ÊÜáêOÝȯ ÓÝÃݻݿå (B) GÃÜvÜã ñܱÜâ³ 69. ®ÜêñÜ ±ÜŨÜÍÜì®Ü¨ÜÈÉ Öæãí¨Ü©ÃÜáÊÜ ÖæàÚPæ¿á®Üá° ÓÜÄ II ñܱÜâ³ (C) I WÜáÃÜá£Ô. (D) II ÓÜÄ I ñܱÜâ³ I) ÊÜÓÜá¤Ë®Ü BÁáR¿áá ±ÜÅÓÜá¤ñܱÜwÓÜᣤÃÜáÊÜ ±ÜŨæàÍÜPæR ÓÜíŸí—ԨݪXÃܸæàPÜá. 65. ñܱÜâ³ ÊÝPÜÂÊÜ®Üá° WÜáÃÜá£Ô. II) ®ÜêñÜ ÍæçÈÁãí©Wæ WÜáÃÜá£ÔPæãíwÃÜáÊÜ i) ÓÜ£Å¿Þ ®ÜêñÜÂÊÜâ PÜÅÊÜ៨ܜ ÖÜÓܤ ÊÜáá¨æÅ ÖÝWÜã »ÝÐæÁáà CÃܸæàPæíŸ ¯¿áÊÜáËÆÉ . ±Ý¨ÜaÜÆ®æWÜÙÜ®Üá° Öæãí©¨æ. III) ÓÜíXàñÜ¨Ü ±ÜÅPÝÃÜÊÜâ ÍÜá¨ÜœÊÝX¨Ü᪠CñÜÃæ ¿ÞÊÜâ¨æà ÍÝÔ÷¿á ÍæçÈWÜÙæãí©Wæ ii) ®ÜvÜá »ÜíX »Ý| ±ÜÅÁãàWÜ¨Ü Jí¨Üá AíWÜ. ËáÍÜÅ|WæãÙÜÛ¸ÝÃܨÜá. iii) aÜÈ¿áá ÍÜá¨Üœ ®ÜêñÜ嬆 ÇÝÓÜ ÊÜ|ì®Ý ÃÜã±Ü. IV) ÊÜÓÜá¤Ë®Ü ÓÜí¨Ü»ÜìÊæà®æàÀá¨ÜªÃÜã iv) ÃÜkáãÊÜááà ñÝívÜÊÜ ®ÜêñÜ ÍæçÈ¿á hÝn®Ü ±ÜÅÓÜá¤ñÜñæ¿áá ËÐÜ¿á¨æãí©Wæ ¸Ý¿á®Ýà ®ÜêñÜ嬆 Jí¨Üá AíWÜ Óèí¨Ü¿ÞìñܾPÜÊÝXÃܸæàPÜá. (A) iv ÊÜÞñÜÅ (B) iii ÊÜáñÜᤠiv (A) I ÊÜáñÜᤠIV (B) II ÊÜáñÜᤠIII (C) ii ÊÜáñÜᤠiv (D) i ÊÜÞñÜÅ (C) I ÊÜáñÜᤠIII (D) II ÊÜáñÜᤠIV Paper III 20 K-3917 *K3917* Total Number of Pages : 24 63. The nature and depiction of classical 66. Examine the following statements for dances especially in the south have been veracity of information and relation to deeply influenced by sculpture. One of each other : the best renditions of the 108 karnas may I) The Raasleela is one of the most be found on the temple distinguishing and recognized aspects of Manipuri. (A) Khajuraho II) During the Vaishnavite wave across (B) Belur-Halebidu the country, the reigning king of (C) Chidambaram Manipur adopted the faith and this (D) affected art and culture. (A) Both I and II are true but not related 64. Examine the following statements for (B) Both I and II are false veracity of information : (C) I is true and II is the cause for I I) Hasta mudras or hand gestures used (D) II is true and I is the cause for II in dance bear close relation to 'yoga mudras' or gestures used in 67. Which of the following instruments are not part of a regular Odissi orchestra ? meditation. (A) Pakhawaj (B) Veena II) Dance in India is considered a form (C) Bansuri (D) Manjira of worship, therefore execution of hand gestures is clearly defined and 68. The six part of Ramayana series each mudra has a meaning and choreographed in Bharatanatyam. position. (A) Padma Subramaniam (A) Both are true (B) Saroja Vaidyanathan (B) Both are false (C) Rukmini Devi Arundale (C) I is true II is false (D) (D) II is true I is false 69. Which of the following statements are not true for the preparation of a dance 65. Which of the following statement/s is/are production ? not true ? I) The selection of subject must relate i) Sattriya has a very strict code of hasta to the region of presentation. mudras and foot work II) The language need not be that which ii) Nadu Bhangi is part of the Bhaona is associated with the dance style. rendition III) The genre of music must be pure and iii) Chali is a graceful and fluid depiction unmixed with any other classical of pure dance style. IV) The rendition must be aesthetically iv) Jhumura the strong and vigorous appealing irrespective of the subject dance is a part of the gayan- of the content. bhayanar nach (A) I and IV (B) II and III (A) Ony iv (B) iii and iv (C) I and III (D) II and IV (C) ii and iv (D) Only i

K-3917 21 Paper III *K3917* Total Number of Pages : 24 70. ±ÜÄàQÒÔ GÃÜvÜÃÜ ÓÜíŸí«ÜWÜÙÜ®Üá° WÜáÃÜá£Ô. 73. AÊÜÃæãàÖÜ| PÜÅÊÜá¨ÜÈÉ hæãàwÔ.

I) ®ÜêñÜ ËÃæãà— aÜÙÜáÊÜÚ¿á £àÊÜÅñæ ÖæaÝcX¨ÝªWÜ 1) A¼®Ü¿á¨Ü±Üì| »ÜÃÜñÜ®Ýo嬆 ¨ÜêÍÝ®Üá»ÜÊÜ ÊÜáñÜᤠA¨ÜÃÜ ±ÜŨÜÍÜì®ÜÊÜ®Üá° ÊæáàÇÝj£¿á ÊÜá×Ùæ¿áÄWæ 2) ÓÜíXàñÜÃÜñÝ°PÜÃÜ ¯Ÿìí—ÓÜÇÝXñÜá¤. 3) ®ÝoÂÍÝÓÜ÷ II) ®ÜêñÜÂÊÜâ ÊÜááSÂÊÝX ÓÜ©Ã ÊÜáñÜᤠ¨æàÔà Borí®Ü 4) »ÜÃÜñÝ|ìÊÜ ÃÜã±ÜWÜÙÜ®Üá° ÊæàÍÝÂÊÜ꣤ ÊÜáñÜᤠQàÙÜá ®ÜvÜñæ¿á Ô÷à¿áÃæãí©Wæ ÓÜËáàPÜÄÓÜÇÝXñÜá¤. (A) 1 2 3 4

(A) GÃÜvÜã EñܤÃÜ ÓÜÄ B¨ÜÃæ ÓÜíŸí—ÔÆÉ (B) 3 2 1 4

(B) GÃÜvÜã ÖæàÚPæWÜÙÜã ÓÜÄ ÊÜáñÜᤠII, I ÖæàÚPæWæ (C) 3 1 4 2

±ÜäÃÜPÜ ÊæçaÝÄPÜÊÝX¨æ (D) 3 4 1 2 (C) I ÓÜÄ ÊÜáñÜᤠII ñܱÜâ³

(D) GÃÜvÜã ÓÜÄ¿Þ¨ÜÃÜã II ÖæàÚPæ I ÖæàÚPæWæ 74. ®ÜêñÜ PÝ¿áìPÜÅÊÜá¨Ü A®ÜáPÜÅÊÜá~Pæ¿á®Üá° hæãàwÔ. ±ÜäÃÜPÜÊÝXÆÉ (A) ÓÜÇÝËá, sÜáËář, ñÜÃÝ®Ý, ¥Ýp

71. D PæÙÜPÜívÜÊÜÃÜÈÉ ÓÜÊÜáPÝÈà®Ü ÊÜáñÜᤠB«Üá¯PÜ (B) ÓÜÇÝËá, ¥Ýp , sÜáËář, ñÜÃÝ®Ý ®ÜñÜìPÜÃÜÆɨÜÊÜÃÜ®Üá° WÜáÃÜá£Ô. (C) ¥Ýp , ÓÜÇÝËá, ñÜÃÝ®Ý, sÜáËáÅ (A) ®ÜÃæàí¨ÜÅ ÍÜÊÜáì (D) sÜáËáÅ, ¥Ýp , ÓÜÇÝËá, ñÜÃÝ®Ý (B) ÍÝÂÊÜáP ¨ÜÊÜÃ

(C) BÍæÉ Çæãà¸æã 75. ÓÜÄ¿ÞX BÁáR ÊÜÞw. (D) gÔrP ÊÜÞÂP PÝÂ£ì ¸ÝÂÇæ ÖÜáqr¨Ü᪠CoÈ B¨ÜÃæ A¨ÜÃÜÜ ¸æÙÜÊÜ~Wæ ÊÜáñÜᤠA¨ÜÃÜ ÃÜã±Ü ±Üvæ¨Ü¨Ü᪠72. WÜáí²Wæ ÓæàÃÜ¨Ü ±Ü¨ÜÊÜ®Üá° WÜáÃÜá£Ô. (A) ´ÝÅ® Õ (A) ÊÜáívÜÆ (B) ÃÜÐÝ (B) aÝÄ

(C) Óݧ®ÜPÜ (C) Óæ³$ç®

(D) »ÜÅÊÜáÄ (D) CíWæÉív ______Paper III 22 K-3917 *K3917* Total Number of Pages : 24 70. Examine the following statements and 73. Arrange the following text in descending identify veracity and relationship chronological order : between the two : I) At the height of the anti-nautch 1) Abhinayadarpana movement the practice and even the 2) Sangitaratnakara visual experience of Bharatanatyam – was forbidden to women of the upper 3) Natyashastra caste. 4) Bharat–arnava II) Dance, especially that practiced as Sadir or Dasiattam was associated (A) 1 2 3 4 with prostitution and women of base (B) 3 2 1 4 character. (A) Both statements are true but not (C) 3 1 4 2 related (D) 3 4 1 2 (B) Both statements are true and II is the rationalisation for I 74. Arrange the following in progression (C) I is true and II is false order of performance. (D) Both are true but II is not the (A) Salaami, Thumri, Tarana, Thaat rationalisation for I (B) Salaami, Thaat, Thumri, Tarana 71. Which of the following artists is not a contemporary or modern dancer ? (C) Thaat, Salaami, Tarana, Thumri (A) Narendra Sharma (D) Thumri, Taat, Salaami, Tarana (B) Shiamak Davar (C) Ashley Lobo 75. Mark the correct choice : (D) Justic McCarthy Ballet originated in Italy but was propagated and formatted in 72. Mark the odd one out. (A) France (A) Mandala (B) C–ari (B) Russia (C) Sthanaka– (C) Spain

(D) Bhramari (D) England

K-3917 23 Paper III *K3917* Total Number of Pages : 24 bñÜᤠŸÃÜÖÜPÝRX ÓܧÙÜ Space for Rough Work

Paper III 24 K-3917