Signature and Name of Invigilator Answer Sheet No. : ...... (To be filled by the Candidate) 1. (Signature) Roll No. (Name) (In figures as per admission card) 2. (Signature) Roll No. (In words) (Name) Test Booklet No. J—6 5 0 7 PAPER—II Time : 1¼ hours]PERFORMING ART [Maximum Marks : 100 Number of Pages in this Booklet : 32 Number of Questions in this Booklet : 50 Instructions for the Candidates ÂÚUèÿææçÍüØô¢ ·ð¤ çÜ° çÙÎðüàæ 1. Write your roll number in the space provided on the top of this 1. ÂãÜðU ÂëDU ·ð¤ ª¤ÂÚU çÙØÌ SÍæÙ ÂÚU ¥ÂÙæ ÚUôÜU ِÕÚU çÜç¹°Ð page. 2. §â ÂýàÙ-˜æ ×𢠿æâ Õãéçß·¤ËÂèØ ÂýàÙ ãñ¢Ð 2. This paper consists of fifty multiple-choice type of questions. 3. ÂÚUèÿææ ÂýæڐUÖ ãôÙð ÂÚU, ÂýàÙ-ÂéçSÌ·¤æ ¥æ·¤ô Îð Îè ÁæØð»èÐ ÂãÜðU ÂUæ¡¿ ç×ÙÅU 3. At the commencement of examination, the question booklet ¥æ·¤ô ÂýàÙ-ÂéçSÌ·¤æ ¹ôÜÙð ÌÍæ ©â·¤è çِÙçÜç¹Ì Áæ¡¿ ·ð¤ çÜ° çÎØð will be given to you. In the first 5 minutes, you are requested ÁæØð¢»ð çÁâ·¤è Áæ¡¿ ¥æ·¤ô ¥ßàØ ·¤ÚUÙè ãñ Ñ to open the booklet and compulsorily examine it as below : (i) ÂýàÙ-ÂéçSÌ·¤æ ¹ôÜÙð ·ð¤ çÜ° ©â·ð¤ ·¤ßÚU ÂðÁ¤ÂÚU Ü»è ·¤æ»Á ·¤è (i) To have access to the Question Booklet, tear off the paper âèÜ ·¤ô ȤæǸU Üð¢UÐ ¹éÜè ãé§ü Øæ çÕÙæ SÅUè·¤ÚU-âèÜU ·¤è ÂéçSÌ·¤æ seal on the edge of this cover page. Do not accept a Sßè·¤æÚU Ù ·¤Úð¢UÐ booklet without sticker-seal and do not accept an open booklet. (ii) ·¤ßÚU ÂëDU ÂÚU ÀUÂð çÙÎðüàææÙéâæÚU ÂýàÙ-ÂéçSÌ·¤æ ·ð¤ ÂëDU ÌÍæ ÂýàÙô¢ ·¤è ⢁Øæ ·¤ô ¥‘ÀUè ÌÚUã ¿ñ·¤ ·¤ÚU Üð¢U ç·¤ Øð ÂêÚðU ãñ¢UÐ ÎôáÂê‡æü ÂéçSÌ·¤æ (ii) Tally the number of pages and number of questions in the booklet with the information printed on the cover çÁÙ×ð¢ ÂëDU / ÂýàÙ ·¤× ãô¢ Øæ ÎéÕæÚUæ ¥æ »Øð ãô¢ Øæ âèçÚUØÜU ×ð¢ Ù ãô¢ page. Faulty booklets due to pages/questions missing ¥ÍæüÌ ç·¤âè Öè Âý·¤æÚU ·¤è ˜æéçÅUÂê‡æü ÂéçSÌ·¤æ Sßè·¤æÚU Ù ·¤Úð¢U ÌÍæ or duplicate or not in serial order or any other ©âè â×Ø ©âð ÜUõÅUæ·¤ÚU ©â·ð¤ SÍæÙ ÂÚU ÎêâÚUè âãè ÂýàÙ-ÂéçSÌ·¤æ discrepancy should be got replaced immediately by a Üð Üð¢Ð U §â·ð¤ çÜ° ¥æ·¤ô Âæ¡¿ ç×ÙÅU çÎØð ÁæØð¢»ðÐ ©â·ð¤ ÕæÎ Ù correct booklet from the invigilator within the period of Ìô ¥æ·¤è ÂýàÙ-ÂéçSÌ·¤æ ßæÂâ Üè ÁæØð»è ¥õÚU Ù ãè ¥æ·¤ô 5 minutes. Afterwards, neither the question booklet ¥çÌçÚUQ¤ â×Ø çÎØæ ÁæØð»æÐ will be replaced nor any extra time will be given. (iii) §â Áæ¡¿ ·ð¤ ÕæÎ ÂýàÙ-ÂéçSÌ·¤æ ·¤è R¤× ⢁Øæ ©žæÚU-˜淤 ÂÚU ¥¢ç·¤Ì (iii) After this verification is over, the Serial No. of the booklet should be entered in the Answer-sheets and the Serial ·¤Úð¢U ¥UõÚU ©žæÚU-˜淤 ·¤è R¤×¤â¢Øæ §â ÂýàÙ-ÂéçSÌ·¤æ ÂÚU ¥¢ç·¤Ì ·¤ÚU No. of Answer Sheet should be entered on this Booklet. Îð¢Ð 4. Each item has four alternative responses marked (A), (B), (C) 4. ÂýˆØð·¤ ÂýàÙ ·ð¤ çÜ° ¿æÚU ©žæÚU çß·¤Ë (A), (B), (C) ÌÍæ (D) çÎØð »Øð ãñ¢Ð and (D). You have to darken the oval as indicated below on the ¥æ·¤ô âãè ©žæÚU ·ð¤ Îèƒæüßëžæ ·¤ô ÂðÙ âð ÖÚU·¤ÚU ·¤æÜæ ·¤ÚUÙæ ãñ Áñâæ ç·¤ Ùè¿ð correct response against each item. çιæØæ »Øæ ãñÐ ©ÎæãÚU‡æ Ñ Example : A B C D A B C D ÁÕç·¤ (C) âãè ©žæÚU ãñÐ where (C) is the correct response. 5. ÂýàÙô¢ ·ð¤ ©žæÚU ·ð¤ßÜU Âýà٠˜æ I ·ð¤ ¥‹ÎÚU çÎØð »Ø𠩞æÚU-˜淤 ÂÚU ãè ¥¢ç·¤Ì 5. Your responses to the items are to be indicated in the Answer Sheet given inside the Paper I booklet only. If you mark at ·¤ÚUÙð ãñ¢Ð ØçÎ ¥æ ©žæÚU ˜淤 ÂÚU çÎØð »Øð Îèƒæüßëžæ ·ð¤ ¥Üæßæ ç·¤âè ¥‹Ø any place other than in the ovals in the Answer Sheet, it will SÍæÙ ÂÚU ©žæÚU 翋ãæ¢ç·¤Ì ·¤ÚUÌð ãñ, Ìô ©â·¤æ ×êËUØ梷¤Ù Ùãè¢ ãô»æÐ not be evaluated. 6. ¥‹ÎÚU çÎØð »Øð çÙÎðüàæô¢ ·¤ô ŠØæÙÂêßü·¤ Âɸð¢UÐ 6. Read instructions given inside carefully. 7. ·¤“ææ ·¤æ× (Rough Work) §â ÂéçSÌ·¤æ ·ð¤ ¥ç‹Ì× ÂëDU ÂÚU ·¤Úð¢UÐ 7. Rough Work is to be done in the end of this booklet. 8. ØçÎ ¥æ ©žæÚU-ÂéçSÌ·¤æ ÂÚU ¥ÂÙæ Ùæ× Øæ °ðâæ ·¤ô§ü Öè çÙàææÙ çÁââð ¥æ·¤è 8. If you write your name or put any mark on any part of the test Âã¿æÙ ãô â·ð¤, ¤ç·¤âè Öè Öæ» ÂÚU ÎàææüÌð Øæ ¥¢ç·¤Ì ·¤ÚUÌð ãñ¢ Ìô ÂÚUèÿææ ·ð¤ booklet, except for the space allotted for the relevant entries, çÜØð ¥Øô‚Ø ƒæôçáÌ ·¤ÚU çÎØð ÁæØð¢»ðÐ which may disclose your identity, you will render yourself 9. ¥æ·¤ô ÂÚUèÿææ â×æ# ãôÙð ¤ÂÚU ©žæÚU-ÂéçSÌ·¤æ çÙÚUèÿæ·¤ ×ãôÎØ ·¤ô ÜUõÅUæÙæ liable to disqualification. ¥æßàØ·¤ ãñ ¥õÚU ÂÚUèÿææ â×æç# ·ð¤ ÕæÎ ¥ÂÙð âæÍ ÂÚUèÿææ ÖßÙ âð ÕæãÚU Ù 9. You have to return the test question booklet to the invigilators Üð·¤ÚU ÁæØð¢Ð at the end of the examination compulsorily and must not carry it with you outside the Examination Hall. 10. ·ð¤ßÜ ÙèÜð / ·¤æÜð ÕæÜU Œßæ§ZÅU ÂñÙ ·¤æ ãè §SÌð×æÜ ·¤Úð¢UÐ 10. Use only Blue/Black Ball point pen. 11. ç·¤âè Öè Âý·¤æÚU ·¤æ ⢻‡æ·¤ (·ñ¤Ü·é¤ÜðÅUÚU) UØæ Üæ» ÅðUÕÜ ¥æçÎ ·¤æ ÂýØô» ßçÁüÌ ãñÐ 11. Use of any calculator or log table etc., is prohibited. 12. »ÜÌ ©žæÚU ·ð¤ çÜ° ¥¢·¤ Ùãè¢ ·¤æÅðU ÁæØð¢»ðÐ 12. There is NO negative marking. See Page No. 2 and 3 for Special Instructions / çßàæðá âê¿Ùæ¥æð´ ·ð¤ çÜ° ÂëcÆ â´Øæ 2 ¥æñÚ 3 Îð¹ð´Ð J—6507 1 P.T.O. DANCE / DRAMA / THEATRE PAPER—II SPECIAL INSTRUCTIONS 1. Candidates are required to answer all the 25 questions in Part-I, which are compulsory. They should also select any one from Part-II and Part-III and answer all the 25 questions of that Part only. Each question carries two marks. 2. Candidates are required to mark clearly on the OMR Answer Sheet, the Part Number which they have selected.

PART—I Common to Dance and Drama / Theatre

1. Match List - I with List - II : List - I List - II (a) Chandralekha (i) Chandalika (b) Kovalam Panikar Narayan (ii) Savitri (c) Veenapani Chawla (iii) Urubhangam (d) Mrinalini Sarabhai (iv) Angika Codes : (a) (b) (c) (d) (A) (iv) (iii) (ii) (i) (B) (iv) (i) (ii) (iii) (C) (i) (ii) (iii) (iv) (D) (i) (iv) (ii) (iii)

2. The famous commentary on Natya Shastra is : (A) Shrigara Prakash (B) Manasollas (C) Abhinav Bharati (D) Abhinay Chandrika

3. Of the following who has created dance - theatre performances : (A) Mallika Sarabhai (B) Ratan Thaiyam (C) Habib Tanvir (D) All of the above

4. According to Abhinaya Darpana the divisions of the body are : (A) 5 (B) 7 (C) 4 (D) 3

5. Which of the follwoing is the violent / vigorons Vritti ? (A) Kaisiki (B) Arabhati (C) Margi (D) Musthi

J—6507 2 ÙëˆØ / ÙæÅ·¤ / Ú´»×´¿ ÂýàÙ˜æ—II çßàæðá âê¿Ùæ°¡ 1. ÂÚèÿææÍèü Öæ»-I ·ð¤ âÖè 25 ÂýàÙæ𴠷𤠩žæÚ Îð´Ð Øã Öæ» ¥çÙßæØü ãñÐ ÂÚèÿææÍèü Öæ»-II ¥æñÚ Öæ»-III ×ð´ âð ç·¤âè °·¤ Öæ» ·ð¤ âÖè 25 ÂýàÙæ𴠷𤠩žæÚ Îð´Ð ÂýˆØð·¤ ÂýàÙ ·ð¤ Îæð ¥´·¤ ãñ´Ð 2. ÂÚèÿææÍèü ¥ÂÙè ¿ØçÙÌ Öæ» ·¤æð OMR ©žæÚ Â˜æ ×ð´ SÂcÅ M¤Â âð ¥´ç·¤Ì ·¤Úð´Ð *

PART—I Common to Dance and Drama / Theatre

1. ÂýÎžæ ·¤æðǸ ·ð¤ ¥æÏæÚ ÂÚ âê¿è - I âê¿è ·¤æ âê¿è - II ×ðÜæÙ ·¤èçÁ° : âé¿è - I âé¿è - II (a) ¿‹ÎýÜð¹æ (i) ¿æ‡ÇæçÜ·¤æ (b) ·¤æðçßÜ×÷ Âç‡æ·¤Ú ÙæÚæ؇æ (ii) âæçߘæè (c) ßè‡ææÂæç‡æ ¿æßÜæ (iii) ª¤L¤Ö´»×÷ (d) ×ë‡ææçÜÙè âæÚUæÖæ§ü (iv) ¥´ç»·¤æ ·¤æðÇ : (a) (b) (c) (d) (A) (iv) (iii) (ii) (i) (B) (iv) (i) (ii) (iii) (C) (i) (ii) (iii) (iv) (D) (i) (iv) (ii) (iii)

2. çِÙçÜç¹Ì ×ð´ âð ÙæÅK àææ ·¤æ Âýçâh ÖæcØ ·¤æñÙ âæ ãñ? (A) oýë´»æÚ Âý·¤æàæ (B) ×æÙâæðËÜæâ (C) ¥çÖÙß ÖæÚÌè (D) ¥çÖÙØ ¿´çÎý·¤æ

3. çِÙçÜç¹Ì ×ð´ âð ç·¤âÙð ÙëˆØ-ÙæÅK ÂýÎàæüÙ ÂýæÚÖ ç·¤Øæ Ñ (A) ×焷¤æ âæÚæÖæ§ü (B) ÚUˆÙ çÍÄØ× (C) ãÕèÕ ÌÙßèððÚ (D) ©ÂÚæðQ¤ âÖè Ùð

4. ¥çÖÙØ ÎÂü‡æ ·ð¤ ¥ÙéâæÚ àæÚèÚ ·ð¤ ç·¤ÌÙð Öæ» ãñ´? (A) 5 (B) 7 (C) 4 (D) 3

5. çِÙçÜç¹Ì ×ð´ âð ·¤æñÙ âè ßëçÌ çã´â·¤/Âýæ‡æßæÙ ãñ? (A) ·ñ¤çâ·¤è (B) ¥æÚÖ^è (C) ×æ»èü (D) ×éçC

J—6507 3 P.T.O. 6. Match List - I with List - II :

List - I List - II

(a) N S D (i) Leela Samson

(b) Kalakshetra (ii) Sanjana Kapoor

(c) I G N C A (iii) Allana Alan

(d) Prithvi Theatre (iv) Kapila Vatsyayan

Code :

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

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

(B) (iii) (iv) (i) (ii)

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

(D) (iv) (i) (iii) (ii)

7. Which of the following is a dance drama ?

(A) Rite of Spring (B) Silence

(C) Swan Lake (D) All of the above

8. The common characteristics of classical dance forms and traditional theatre are :

(A) Sutradhara (B) Vidushak

(C) Use of chariots (D) None of the above

9. Which one is the correct sequence ?

(A) Uday Shankar, Habib Tanvir, Girish Karnad, Vyjantimala

(B) Habib Tanvir, Uday Shankar, Vyjantimala, Girish Karnad

(C) Uday Shankar, Habib Tanvir, Vyjantimala, Girish Karnad

(D) Girish Karnad, Habib Tanvir, Vyjantimala, Uday Shankar

10. Kovalam Panikar Narayan uses which musical style in his dramatic presentations :

(A) Dhrupad (B) Sopanam (C) Carnatic (D) Kirtan

J—6507 4 6. ÂýÎžæ ·¤æðÇ ·ð¤ ¥æÏæÚ ÂÚ âé¿è - I ·¤æ âé¿è - II âð ×ðÜæÙ ÕñÆ槰 :

âé¿è - I âé¿è - II

(a) °Ù °â Çè (i) ÜèÜæ âñ×âÙ

(b) ·¤Üæÿæð˜æ (ii) â´¿Ùæ ·¤ÂêÚ

(c) ¥æ§ü Áè °Ù âè ° (iii) ¥„Ùæ ¥´ÜÙ

(d) Âë‰ßè çÍ°ÅÚ (iv) ·¤çÂÜæ ßæˆâ÷ØæØÙ

·¤æðÇ : (a) (b) (c) (d) (A) (i) (iv) (iii) (ii) (B) (iii) (iv) (i) (ii) (C) (iii) (i) (ii) (iv) (D) (iv) (i) (iii) (ii)

7. çِÙçÜç¹Ì ×ð´ âð ·¤æñÙ âè ÙëˆØ ÙæçÅ·¤æ ãñ?

(A) Úæ§Å ¥æȤ çSÂý´» (B) âæ§Üð´â

(C) SßñÙ Üð·¤ (D) ©ÂÚæðQ¤ âÖè

8. àææèØ ÙëˆØ L¤Âæð´ ¥æñÚ ÂæڐÂÚè·¤ çÍ°ÅÚ ×ð´ âð ·¤æñÙ âè çßçàæCÌæ âæÛæè ãñ :

(A) âé˜æÏæÚ (B) çßÎêá·¤

(C) ÚUÍæð´ ·¤æ ÂýØæð» (D) ©ÂÚæðQ¤ ×ð´ âð ·¤æð§ü Ùãè´

9. çِÙçÜç¹Ì ×ð´ âð ·¤æñÙ âæ ¥ÙéR¤× âãè ãñ?

(A) ©ÎØ àæ´·¤Ú, ãÕèÕ ÌÙßèÚ, ç»Úèá ·¤ÙæüÇ, ßñÁ؋Ìè ×æÜæ

(B) ãÕèÕ ÌÙßèÚ, ©ÎØ àæ´·¤Ú, ßñÁ؋Ìè ×æÜæ, ç»Úèá ·¤ÙæüÇU

(C) ©ÎØ àæ´·¤Ú, ãÕèÕ ÌÙßèÚ, ßñÁ؋Ìè ×æÜæ, ç»Úèá ·¤ÙæüÇ

(D) ç»Úèá ·¤ÙæüÇ, ãÕèÕ ÌÙßèÚ, ßñÁ؋Ìè ×æÜæ, ©ÎØ àæ´·¤Ú

10. ·¤æðßÜ×÷ Âç‡æ·¤Ú ÙæÚæ؇æ çِÙçÜç¹Ì ×ð´ âð ç·¤â â´»èÌ àæñÜè ·¤æ ÙæÅK ÂýÎàæüÙ ·¤ÚÌð ãé° ©ÂØæð» ·¤ÚÌð ãñ´ :

(A) ÏýéÂÎ (B) âæðÂÙ×÷ (C) ·¤ÙæüçÅ·¤ (D) ·¤èžæüÙ

J—6507 5 P.T.O. 11. UNESCO has recognised the following as world heritage art form : (A) Terukuthu (B) Bharatnatyam (C) Koodiattam (D) Raslila

12. Which of the world famous performing Arts Centre : (A) India Habitat Centre (B) Lincoln Centre for Performing Arts (C) Nehru Centre (D) Paris Opera

13. Which one is the correct sequence ? (A) Nagamandala, Savitri, Leelavati, Meghadoot (B) Savitri, Meghadoot, Leelavati, Nagamandala (C) Leelavati, Meghadoot, Savitri, Nagamandala (D) Meghadoot, Leelavati, Savitri, Nagamandala

14. Assertion (A) : Folk theatre extensively uses music and dance. Reason (R) : There were no films earlier. (A) (A) and (R) are false (B) (A) and (R) are true (C) (A) is true and (R) is false (D) (A) is false and (R) is true

15. Which one is the correct sequence : (A) Rupaka, Desi, Vidushaka, Uparupaka (B) Vidushaka, Rupaka, Desi, Uparupaka (C) Rupaka, Vidushaka, Uparupaka, Desi (D) Rupaka, Uparupaka, Vidushaka, Desi

16. Assertion (A) : The principle of minimalism applied in Noh of Japan is due to its ritualistic beliefs : Reason (R) : It is very boring to watch Noh. (A) (A) is true and (R) is false (B) (A) is true and (R) is true (C) (A) is false and (R) is true (D) (A) is false and (R) is false

17. Match the items in List - I with List - II : List - I List - II (a) Kalidasa (i) Uttar Rama Charita (b) Bhavabhuti (ii) Malvikanganimitra (c) Shudrak (iii) Karnabharam (d) Bhasa (iv) Mruchhakatikam Code : (a) (b) (c) (d) (A) (ii) (iv) (iii) (i) (B) (ii) (i) (iv) (iii) (C) (iii) (ii) (iv) (i) (D) (iv) (iii) (i) (ii) J—6507 6 11. ØéÙðS·¤æð Ùð çِÙçÜç¹Ì ×ð´ âð 緤⠷¤Üæ L¤Â ·¤æð çßàß çßÚUæâÌ âÂÎæ ·ð¤ ÌæñÚ ÂÚ ×æ‹ØÌæ ÂýÎæÙ ·¤è ãñ? (A) ÌðM¤·ê¤Íé (B) ÖÚÌÙæÅK×÷ (C) ·é¤çÇ¥^× (D) ÚUæâÜèÜæ

12. çِÙçÜç¹Ì ×ð´ âð ÂýÎàæüÙ ·ð¤ çÜ° çßàß Âýçâh ·¤Üæ ·ð¤‹Îý ·¤æñÙ âæ ãñ? (A) §´çÇØæ ãðÕèÅñÅ âð´ÅÚ (B) çÜ´·¤Ù âð´ÅÚ È¤æÚ ÂÚȤæðç×Z» ¥æÅüâ (C) ÙðãM¤ âð´ÅÚ (D) ÂðçÚâ ¥æðÂðÚæ

13. çِÙçÜç¹Ì ×ð´ âð âãè ¥ÙéR¤× ·¤æñÙ âæ ãñ? (A) Ùæ»×‡ÇÜ, âæçߘæè, ÜèÜæßÌè, ×ðƒæÎêÌ (B) âæçߘæè, ×ðƒæÎéÌ, ÜèÜæßÌè, Ùæ»×‡ÇÜ (C) ÜèÜæßÌè, ×ðƒæÎéÌ, âæçߘæè, Ùæ»×‡ÇÜ (D) ×ðƒæÎéÌ, ÜèÜæßÌè, âæçߘæè, Ùæ»×‡ÇÜ

14. ¥çÖ·¤ÍÙ (A) : Üæð·¤-çÍ°ÅÚ â´»èÌ ¥æñÚ ÙëˆØ ·¤æ ÖÚÂêÚ ÂýØæð» ·¤ÚÌæ ãñÐ Ì·ü¤ (R) : çÂÀÜð â×Ø ×ð´ çȤË×ð´ Ùãè ãæðÌè Íè´Ð (A) (A) ¥æñÚ (R) »ÜÌ ãñ´Ð (B) (A) ¥æñÚ (R) âãè ãñ´Ð (C) (A) âãè ãñ ÂڋÌé (R) »ÜÌ ãñÐ (D) (A) »ÜÌ ãñ ÂڋÌé (R) âãè ãñÐ

15. çِÙçÜç¹Ì ×ð´ âð âãè ¥ÙéR¤× ·¤æñÙ âæ ãñ? (A) M¤Â·¤, Îðâè, çßÎêá·¤, ©ÂM¤Â·¤ (B) çßÎêá·¤, M¤Â·¤, Îðâè, ©ÂM¤Â·¤ (C) M¤Â·¤, çßÎêá·¤, ©ÂM¤Â·¤, Îðâè (D) M¤Â·¤, ©ÂM¤Â·¤, çßÎêá·¤, Îðâè

16. ¥çÖ·¤ÍÙ (A) : ÁæÂæÙ ·ð¤ Ùæðã ×ð´ ÂýØéQ¤ ‹ØéÙÌ×ßæã ·ð¤ çâhæ‹Ì ·¤æ çÙßæüã çßçÏ-çßÏæÙ ×ð´ çßàßæ⠷𤠷¤æڇæ ãé¥æ ãñÐ Ì·ü¤ (R) : ÒÙæðãÓ ·¤æð Îð¹Ùæ ©È¤Ìæ ÎðÙðßæÜæ ãæðÌæ ãñÐ (A) (A) âãè ãñ ¥æñÚ (R) »ÜÌ ãñÐ (B) (A) âãè ãñ ¥æñÚ (R) âãè ãñÐ (C) (A) »ÜÌ ãñ ¥æñÚ (R) âãè ãñÐ (D) (A) »ÜÌ ãñ ¥æñÚ (R) »ÜÌ ãñÐ

17. âê¿è - I ×ð´ ÂýΞæ ×Îæð´ ·¤æ âê¿è - II âð ×ðÜæÙ ·¤èçÁ° : âê¿è - I âê¿è - II (a) ·¤æçÜÎæâ (i) ©žæÚ Úæ× ¿çÚÌ (b) ÖßÖêçÌ (ii) ×æÜçß·¤æç»Açטæ (c) àæéÎý·¤ (iii) ·¤‡æüÖý× (d) Öæá (iv) ×ë‘À·é¤^×÷ ·¤æðÇ : (a) (b) (c) (d) (A) (ii) (iv) (iii) (i) (B) (ii) (i) (iv) (iii) (C) (iii) (ii) (iv) (i) (D) (iv) (iii) (i) (ii) J—6507 7 P.T.O. 18. Which one is the correct sequence (A) Vachika, Angika, Satvika, Aharya (B) Satvika, Angika, Vachika, Aharya (C) Angika, Satvika, Aharya, Vachika (D) Angika, Vachika, Aharya, Satvika

19. Assertion (A) : Bharatanatyam is the dance of Bharata. Reason (R) : It has Bhava, Raga, Tala. (A) (A) is true (R) is false (B) (A) is false (R) is true (C) (A) is false (R) is false (D) (A) is true (R) is true

20. Match List - I with List - II : List - I List - II (a) Tabla (i) Kathakali (b) Pakhawaj (ii) Kathak (c) Maddalam (iii) Odissi (d) Talam (iv) Bharatanatyam Code : (a) (b) (c) (d) (A) (ii) (iii) (i) (iv) (B) (iv) (ii) (i) (iii) (C) (ii) (iv) (iii) (i) (D) (i) (iii) (iv) (ii)

21. Match List - I with List - II : List - I List - II (a) Andhra Pradesh (i) Raslila (b) Maharashtra (ii) Nautanki (c) Uttar Pradesh (iii) Terukuthu (d) Vrindavan (iv) Songibharuda Code : (a) (b) (c) (d) (A) (iii) (iv) (ii) (i) (B) (iii) (ii) (iv) (i) (C) (i) (ii) (iii) (iv) (D) (ii) (i) (iv) (iii)

J—6507 8 18. çِÙçÜç¹Ì ×ð´ âð ·¤æñÙ âæ âãè ¥ÙéR¤× ãñ Ñ (A) ßæç¿·¤, ¥æ´ç»·¤, âæçˆß·¤, ¥ãæØü (B) âæçˆß·¤, ¥æ´ç»·¤, ßæç¿·¤, ¥ãæØü (C) ¥æ´ç»·¤, âæçˆß·¤, ¥ãæØü, ßæç¿·¤ (D) ¥æ´ç»·¤, ßæç¿·¤, ¥ãæØü, âæçˆß·¤

19. ¥çÖ·¤ÍÙ (A) : ÖÚÌÙæÅK×÷ ÖæÚÌ ·¤æ ÙëˆØ ãñÐ Ì·ü¤ (R) : §â ×ð´ Öæß, Úæ» ¥æñÚ ÌæÜ ãæðÌð ãñ´Ð (A) (A) âãè ãñ ÂڋÌé (R) »ÜÌ ãñÐ (B) (A) »ÜÌ ãñ ÂڋÌé (R) âãè ãñÐ (C) (A) »ÜÌ ãñ ¥æñÚ (R) »ÜÌ ãñÐ (D) (A) âãè ãñ ¥æñÚ (R) âãè ãñÐ

20. ÂýÎžæ ·¤æðÇ ·ð¤ ¥æÏæÚ ÂÚ âê¿è - I ·¤æ âê¿è - II ·¤æ ×ðÜæÙ ·¤èçÁ° : âê¿è - I âê¿è - II (a) ÌÕÜæ (i) ·¤Í·¤Üè (b) ¹æßÇæ (ii) ·¤Í·¤ (c) ×aÜ× (iii) ¥ææðçÇâè (d) ÌæÜ×÷ (iv) ÖÚÌÙæÅ÷K×÷ ·¤æðÇ : (a) (b) (c) (d) (A) (ii) (iii) (i) (iv) (B) (iv) (ii) (i) (iii) (C) (ii) (iv) (iii) (i) (D) (i) (iii) (iv) (ii)

21. ÂýÎžæ ·¤æðÇ ·ð¤ ¥æÏæÚ ÂÚ âê¿è - I ·¤æ âê¿è - II âð ×ðÜæÙ ·¤èçÁ° : âê¿è - I âê¿è - II (a) ¥æ´Ïý ÂýÎðàæ (i) Úæâ ÜèÜæ (b) ×ãæÚæCþ (ii) ÙæñÅ´·¤è (c) ©žæÚ ÂýÎðàæ (iii) ÌðL¤·ê¤Íê (d) ßë´ÎæßÙ (iv) âæð´»èÖæL¤Ç ·¤æðÇ : (a) (b) (c) (d) (A) (iii) (iv) (ii) (i) (B) (iii) (ii) (iv) (i) (C) (i) (ii) (iii) (iv) (D) (ii) (i) (iv) (iii)

J—6507 9 P.T.O. 22. Match List - I with List - II : List - I List - II (a) Chhau (i) Puppets (b) Wayang (ii) Masks (c) Korean (iii) Kiritam (d) Kathakali (iv) Fan Code : (a) (b) (c) (d) (A) (i) (iii) (ii) (iv) (B) (ii) (i) (iv) (iii) (C) (iii) (ii) (iv) (i) (D) (iv) (i) (iii) (ii)

23. Indicate the odd one out Which university has dance and theatre departments both : (A) Maharaja Sayaji Rao University(B) Ranvindra Bharati (C) Banaras Hindu University(D) Pondichery University

24. Match List - I with List - II : List - I List - II (a) Gujarat (i) Chhau (b) Manipur (ii) Lai Haroba (c) Kerala (iii) Bhootam (d) Bihar (iv) Dhadhilila Code : (a) (b) (c) (d) (A) (i) (iii) (ii) (iv) (B) (iii) (ii) (iv) (i) (C) (iv) (ii) (iii) (i) (D) (ii) (iv) (iii) (i)

25. Pick the odd one out : (A) Prosinium (B) Thrust (C) Arena (D) Square

J—6507 10 22. âê¿è - I ·¤æ âê¿è - II âð ×ðÜæÙ ·¤èçÁ° : âê¿è - I âê¿è - II (a) Àª¤ (i) ·¤ÆÂéÌÜè (b) ÃØæ´» (ii) ×é¹æñÅð (c) ·¤æðçÚØÙ (iii) ç·¤ÚèÅ× (d) ·¤Í·¤·¤Üè (iv) ´¹æ ·¤æðÇ : (a) (b) (c) (d) (A) (i) (iii) (ii) (iv) (B) (ii) (i) (iv) (iii) (C) (iii) (ii) (iv) (i) (D) (iv) (i) (iii) (ii)

23. çßá× ·¤æð ¿éçÙ°´ Ñ ç·¤â çßàß çßlæÜØ ×ð´ ÙëˆØ °ß´ çÍ°ÅÚ ÎæðÙæð´ ·ð¤ ãè çßÖæ» ãñ´ : (A) ×ãæÚæÁæ âØæÁè Úæß çßàßçßlæÜØ (B) Úßè‹Îý ÖæÚÌè (C) ÕÙæÚâ çã‹Îê çßàßçßlæÜØ (D) Âæ´Çð¿Úè çßàßçßlæÜØ

24. âê¿è - I ·¤æ âê¿è - II âð ×ðÜæÙ ·¤èçÁ° : âê¿è - I âê¿è - II (a) »éÁÚæÌ (i) Àª¤ (b) ×ç‡æÂéÚU (ii) Üæ§ü ãL¤Õæ (c) ·ð¤ÚÜ (iii) ÖêÌ×÷ (d) çÕãæÚ (iv) ÎæçÏÜèÜæ ·¤æðÇ : (a) (b) (c) (d) (A) (i) (iii) (ii) (iv) (B) (iii) (ii) (iv) (i) (C) (iv) (ii) (iii) (i) (D) (ii) (iv) (iii) (i)

25. çßá× ·¤æð ¿éçÙ°´ : (A) ·¤×æÙè Ú´»×´¿ (B) ¥æƒææÌ (ÍýSÅ) (C) ¥¹æǸæ (°ÚèÙæ) (D) ¿æñ·¤æðÚU

J—6507 11 P.T.O. PART - II DANCE 26. Dr. Kapila Vatsyanan is member of : (A) Rajyasabha (B) Kalakshetra (C) Sahitya Parishad (D) None of the above

27. Match List - I with List - II : List - I List - II (a) Shane Avadh (i) Bolshoi theatre (b) Dhabkar (ii) Vishwabharati (c) Chandalika (iii) Kathak Kendra (d) Swan lake (iv) Kadamb Code : (a) (b) (c) (d) (A) (iii) (iv) (i) (ii) (B) (iii) (iv) (ii) (i) (C) (iii) (ii) (i) (iv) (D) (iv) (i) (iii) (ii)

28. Modern dance is often termed as : (A) Contemporary dance (B) Fussion dance (C) Mix dance (D) Trans dance

29. Who choreographed the opening ceremony dances for the common wealth games 2006 ? (A) Ashley Lobo (B) Shaimak Davar (C) Narendra Sharma (D) Farah Khan

30. The dance theatre of Japan is : (A) Kabuki (B) Bunraku (C) Khon (D) Wayang Wong

31. The classification of Swakiya, Parakiya and Samanya is based on : (A) Age (B) Acting (C) Emotions (D) Relationship to men

J—6507 12 PART - II

DANCE

26. Çæò. ·¤çÂÜæ ßæˆSØæØÙ âÎSØ ãñ :

(A) Úæ’ØâÖæ (B) ·¤Üæÿæð˜æ (C) âæçãˆØ ÂçÚáÎ (D) ©ÂØéüQ¤ ·¤æð§ü Öè Ùãè´

27. âê¿è - I âð âê¿è - II ·¤æ ×ðÜæÙ ·¤èçÁ° :

âê¿è - I âê¿è - II

(a) àææÙð ¥ßÏ (i) ÕæðÜàææð§ü çÍ°ÅÚ

(b) ÏÕ·¤æÚ (ii) çßEÖæÚÌè

(c) ¿æ‹Ç¸æçÜ·¤æ (iii) ·¤Í·¤ ·ð¤‹Îý

(d) SßæÙ Üð·¤ (iv) ·¤ÎÕ

·¤æðÇ : (a) (b) (c) (d) (A) (iii) (iv) (i) (ii) (B) (iii) (iv) (ii) (i) (C) (iii) (ii) (i) (iv) (D) (iv) (i) (iii) (ii)

28. ·¤§ü ÕæÚ ×æðÇUÙü Çæ‹â ·¤æð ·¤ãðÌð ãñ :

(A) ̈·¤æçÜÙ ÙëˆØ (B) â´çןæèÌ ÙëˆØ (C) ç×oýèÌ ÙëˆØ (D) Âý‘Àóæ ÙëˆØ

29. ç·¤âÙð ·¤æð×ÙßðËÍ ¹ðÜ â×æÚ´Ö 2006 ·ð¤ ©ÎƒææÅÙ â×æÚ´Ö ·ð¤ ÙëˆØæð´ ·¤æ çÙÎðüàæÙ ç·¤Øæ ?

(A) ¥æàÜðØ ÜæðÕæð (B) àæñ×·¤ ÎæßÚ (C) ÙÚð‹Îý àæ×æü (D) ȤÚæã ¹æÙ

30. ÁÂæÙ ·¤æ ÙëˆØ-ÙæÅK ãñ :

(A) ·¤æÕé·¤è (B) ÕéÙÚæ·é¤ (C) ¹æðÙ (D) ßæ؋» ßæð‹»

31. Sß·¤èØæ, ÂÚ·¤èØæ, âæ×æ‹Ø ÙæçØ·¤æ¥æð´·¤æ ß»èü·¤Ú‡æ ¥æÏæçÚÌ ãñ :

(A) ©×ý (B) ¥çÖÙØ (C) Öæß (D) ÂéL¤á âð â´Õ´Ï

J—6507 13 P.T.O. 32. Match List - I with List - II : List - I List - II (a) Bharatanatyam (i) Kalasam (b) Khathakali (ii) Parikhanda (c) Kathak (iii) Adavu (d) Chhau (iv) Tatkar Code : (a) (b) (c) (d) (A) (iv) (ii) (i) (iii) (B) (ii) (iv) (i) (iii) (C) (iv) (i) (iii) (ii) (D) (i) (iii) (iv) (ii)

33. Match List - I with List - II : List - I List - II (a) Kathak (i) Talam (b) Bharatanatyam (ii) Pakhawaj (c) Kathakali (iii) Karatal (d) Manipuri (iv) Maddalam Code : (a) (b) (c) (d) (A) (i) (ii) (iv) (iii) (B) (ii) (i) (iii) (iv) (C) (ii) (i) (iv) (iii) (D) (i) (iv) (iii) (ii)

34. Which is the correct sequence ? (A) Sthanaka, Prenkhana, Prerita, Alidha (B) Sthanaka, Alidha, Prenkhana, Prerita (C) Alidha, Sthanaka, Prenkhana, Prerita (D) Sthanaka, Prerita, Alidha, Prenkhana

35. Which is the correct sequence ? (A) utsanga, kapota, shankha, swastika (B) utsanga, swastika, kapota, shankha (C) kapota, utsanga, swastika, shankha (D) kapota, swastika, utsanga, shankha

36. Assertion (A) : The Prana of dance is rhythm. Reason (R) : Dance can be performed with or without rhythm. (A) (A) and (R) both false (B) (A) and (R) both true (C) (A) is true but (R) is false (D) (A) is false but (R) is true

J—6507 14 32. âê¿è - I âð âê¿è - II ·¤æ ×ðÜæÙ ·¤èçÁ° : âê¿è - I âê¿è - II (a) ÖÚÌÙæÅK×÷ (i) ·¤Üæâ×÷ (b) ·¤Í·¤Üè (ii) ÂÚ蹋Ǹ (c) ·¤Í·¤ (iii) ¥æÇßé (d) Àæ© (iv) ÌÌ÷·¤æÚ ·¤æðÇ : (a) (b) (c) (d) (A) (iv) (ii) (i) (iii) (B) (ii) (iv) (i) (iii) (C) (iv) (i) (iii) (ii) (D) (i) (iii) (iv) (ii)

33. âê¿è - I âð âê¿è - II ·¤æ ×ðÜæÙ ·¤èçÁ° : âê¿è - I âê¿è - II (a) ·¤Í·¤ (i) ÌæÜ×÷ (b) ÖÚÌÙæÅK× (ii) ¹æßÁ (c) ·¤Í·¤Üè (iii) ·¤ÚÌæÜ (d) ×ç‡æÂéÚè (iv) ×gÜ× ·¤æðÇ : (a) (b) (c) (d) (A) (i) (ii) (iv) (iii) (B) (ii) (i) (iii) (iv) (C) (ii) (i) (iv) (iii) (D) (i) (iv) (iii) (ii)

34. âãè R¤× ·¤æñÙâæ ãñ ? (A) SÍæÙ·¤, Âý𴹇æ, ÂðýçÚÌ, ¥æÜèɸ (B) SÍæÙ·¤, ¥æÜèɸ, Âðý´¹‡æ, ÂðýçÚÌ (C) ¥æÜèɸ, SÍæÙ·¤, Âðý´¹‡æ, ÂðýçÚÌ (D) SÍæÙ·¤, ÂðýçÚÌ, ¥æÜèɸ, Âðý´¹‡æ

35. âãè R¤× ·¤æñÙâæ ãñ ? (A) ©ˆâæ´», ·¤ÂæðÌ, àæ´¹, SßçSÌ·¤ (B) ©ˆâæ´», SßçSÌ·¤, ·¤ÂæðÌ, àæ´¹ (C) ·¤ÂæðÌ, ©ˆâæ´», SßçSÌ·¤, àæ´¹ (D) ·¤ÂæðÌ, SßçSÌ·¤, ©ˆâæ´», àæ´¹

36. ·¤ÍÙ (A) : ÙëˆØ ·¤æ Âýæ‡æ ÌæÜ ãñÐ ·¤æڇæ (R) : ÙëˆØ ÌæÜ ·ð¤ âæÍ Øæ çÕÙæ ÌæÜ ãæð â·¤Ìæ ãñÐ (A) (A) ÌÍæ (R) ÎæðÙæð´ »ÜÌ ãñ (B) (A) ÌÍæ (R) ÎæðÙæð´ âãè ãñ (C) (A) âãè ãñ (R) »ÜÌ ãñ (D) (A) »ÜÌ ãñ (R) âãè ãñ

J—6507 15 P.T.O. 37. Assertion (A) : The Natyashastra is the bible for all styles of Indian classical dance.

Reason (R) : Indian classical dancers do not consult the Natyashastra because it is a book on Natya.

(A) (A) is true but (R) is false (B) (A) and (R) both true

(C) (A) and (R) both false (D) (A) is false but (R) is ture

38. The rhythmic patterns seen in a Varnam of Bharatnatyam are called :

(A) Charanam (B) Swarajathi (C) Tatkar (D) Tirmanam

39. Bharata created Apsaras for :

(A) Arabhati Vritti (B) Kaisiki Vritti (C) Angahara (D) Lasya

40. Match List - I with List - II :

List - I List - II

(a) Adi Tala (i) 14

(b) Ada Chautala (ii) 6

(c) Rupak (iii) 7

(d) Mishra Chapu (iv) 8

Code :

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

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

(B) (iv) (i) (iii) (ii)

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

(D) (iv) (iii) (ii) (i)

41. Assertion (A) : All Indian classical dancers use Jayadeva’s Git-Govinda.

Reason (R) : Jayadeva’a Git-Govinda made a distinct impact on the Indian cultural scene around the 10th cen. A. D

(A) (A) and (R) are false (B) (A) is false (R) is true

(C) (A) and (R) are true (D) (A) is true (R) is false J—6507 16 37. ·¤ÍÙ (A) : âÖè ÖæÚÌèØ àææèØ ÙëˆØàæñÜè¥æð´·ð¤ çÜØð ÙæÅKàææ Õæ§ÕÜ â×æÙ ãñÐ

·¤æڇæ (R) : ÖæÚÌèØ àææèØ ÙëˆØ·¤æÚ ÙæÅKàææ ·¤æ ©ÂØæð» Ùãè´ ·¤ÚÌð €Øæð´ ç·¤ ßæð ÙæÅ·¤ ·¤è ÂéSÌ·¤ ãñÐ

(A) (A) âãè ãñ (R) »ÜÌ ãñ (B) (A) ÌÍæ (R) ÎæðÙæð´ âãè ãñ

(C) (A) ÌÍæ (R) ÎæðÙæð´ »ÜÌ ãñ (D) (A) »ÜÌ ãñ (R) âãè ãñ

38. ÖÚÌÙæÅK× ·ð¤ ߇æü×÷ ×ð´ ÂæØð »Øð ÌæÜÕh Ì鷤Ǹæð ·¤æð ·¤ãÌð ãñ :

(A) ¿Ú‡æ×÷ (B) SßÚÁçÌ (C) ÌÌ÷·¤æÚ (D) çÌÚ×æÙ×÷

39. ÖÚÌ Ù𠥌âÚUæ ·¤è âëCè ·¤è :

(A) ¥æÚÖÅè ßëçžæ (B) ·ñ¤âè·¤è ßëçžæ (C) ¥´»ãæÚ (D) ÜæSØ

40. âê¿è - I âð âê¿è - II ·¤æ ×ðÜæÙ ·¤èçÁ° :

âê¿è - I âê¿è - II

(a) ¥æçÎÌæÜ (i) 14

(b) ¥æÇ¸æ ¿æñÌæÜ (ii) 6

(c) L¤Â·¤ (iii) 7

(d) çןæ¿æÂé (iv) 8

·¤æðÇ : (a) (b) (c) (d) (A) (iv) (i) (ii) (iii) (B) (iv) (i) (iii) (ii) (C) (iv) (ii) (iii) (i) (D) (iv) (iii) (ii) (i)

41. ·¤ÍÙ (A) : âÖè ÖæÚÌèØ àææèØ ÙëˆØ ÁØÎðß ·ð¤ »èÌ-»æðçß´Î ©ÂØæð» ·¤ÚÌð ãñÐ

·¤æڇæ (R) : 10 ßè´ âÎè A. D âð ÖæÚÌèØ âæ´S·ë¤çÌ·¤ ÂçÚßðàæ ÂÚ ÁØÎðß ·ð¤ »èÌ-»æðçß´Î ·¤æ çßàæðá ÂýÖæß ÚãæÐ

(A) (A) ÌÍæ (R) ÎæðÙæð´ »ÜÌ (B) (A) »ÜÌ (R) âãè ãñ

(C) (A) ÌÍæ (R) ÎæðÙæð´ âãè ãñ (D) (A) âãè (R) »ÜÌ ãñ J—6507 17 P.T.O. 42. Which one is the correct sequence ?

(A) Rukmini Devi, Bala Saraswati, Kelucharan Mahapatra, Bipin Sinha

(B) Bala Saraswati, Bipin Sinha, Rukmini Devi, Kelucharan Mahapatra

(C) Bala Saraswati, Rukmini Devi, Bipin Sinha, Kelucharan Mahapatra

(D) Rukmini Devi, Bipin sinha, Kelucharan Mahapatra, Bala Saraswati

43. Which is the correct sequence ?

(A) Rasa, Abhinaya, Poorva Ranga, Natya Mandap

(B) Poorva Ranga, Abhinaya, Natya Mandap, Rasa

(C) Poorva Ranga, Natya Mandap, Abhinaya, Rasa

(D) Abhinaya, Rasa, Natya Mandap, Poorva Ranga

44. Assertion (A) : The dances and dance-dramas of SEA are much influenced by India.

Reason (R) : These are Hindu countries.

(A) (A) is false but (R) is true (B) (A) is true but (R) is false

(C) (A) and (R) are true (D) (A) and (R) are false

45. Which one is not correctly matched

(A) Goverdhan Dharan - Chhau

(B) Ulukhal Leela - Manipuri

(C) Putana Moksha - Kathakali

(D) Kalia Daman - Kathak

46. Assertion (A) : It is easier to perform Kathak than Bharatnatyam on Odissi.

Reason (R) : Kathak has feet in Samapada position.

(A) (A) and (R) both false (B) (A) is false but (R) is true

(C) (A) is true but (R) is false (D) (A) and (R) both true

J—6507 18 42. âãè R¤× ·¤æñÙâæ ãñ ?

(A) L¤·¤çׇæè Îðßè, ÕæÜæ âÚSßÌè, ·ð¤Üé¿Ú‡æ ×ãæÂæ˜æ, çÕçÂÙ çâ‹ãæ

(B) ÕæÜæ âÚSßÌè, çÕçÂÙ çâ‹ãæ, L¤·¤çׇæè Îðßè, ·ð¤Üé¿Ú‡æ ×ãæÂæ˜æ

(C) ÕæÜæ âÚSßÌè, L¤·¤çׇæè Îðßè, çÕçÂÙ çâ‹ãæ, ·ð¤Üé¿Ú‡æ ×ãæÂæ˜æ

(D) L¤·¤çׇæè Îðßè, çÕçÂÙ çâ‹ãæ, ·ð¤Üé¿Ú‡æ ×ãæÂæ˜æ, ÕæÜæ âÚSßÌè

43. âãè R¤× ·¤æñÙâæ ãñ ?

(A) Úâ, ¥çÖÙØ, ÂêßüÚ´», ÙæÅK×´Ç (B) ÂêßüÚ´», ¥çÖÙØ, ÙæÅK×´ÇÂ, Úâ

(C) ÂêßüÚ´», ÙæÅK×´ÇÂ, ¥çÖÙØ, Úâ (D) ¥çÖÙØ, Úâ, ÙæÅK×´ÇÂ, ÂêßüÚ´»

44. ·¤ÍÙ (A) : Îçÿæ‡æ Âêßü °çàæØæ ·ð¤ ÙëˆØ ¥æñÚ ÙëˆØ-ÙæçÅ·¤æØð´ ÖæÚÌ âð ¥çÏ·¤ ÂýÖæçßÌ ãñÐ

·¤æڇæ (R) : Øð çã´Îê Úæ’Ø ãñÐ

(A) (A) »ÜÌ ãñ (R) âãè ãñ (B) (A) âãè ãñ (R) »ÜÌ ãñ

(C) (A) ÌÍæ (R) ÎæðÙæð´ âãè ãñ (D) (A) ÌÍæ (R) ÎæðÙæð´ »ÜÌ ãñ

45. ·¤æñÙ âæ Øé‚× âãè Ùãè´ ãñ?

(A) »æðßÏüÙ Ïæڇæ - À©

(B) ©„é¹Ü ÜèÜæ - ×ç‡æÂêÚè

(C) ÂéÌÙæ ×æðÿæ - ·¤Í·¤Üè

(D) ·¤æçÜØæ Î×Ù - ·¤Í·¤

46. ·¤ÍÙ (A) : ·¤Í·¤ ÙëˆØ ·¤ÚÙæ ÖÚÌÙæÅK×÷ ¥æñÚ ¥æðçÇâè âð âãÁ ãñÐ

·¤æڇæ (R) : ·¤Í·¤ ×ð´ ÂñÚ â×ÂæÎ ×ð´ Ú¹ð ÁæÌð ãñÐ

(A) (A) ÌÍæ (R) ÎæðÙæð´ »ÜÌ ãñ (B) (A) »ÜÌ ãñ (R) âãè ãñ

(C) (A) âãè ãñ (R) »ÜÌ ãñ (D) (A) ÌÍæ (R) ÎæðÙæð´ âãè ãñ J—6507 19 P.T.O. 47. Match List - I with List - II :

List - I List - II

(a) Yati (i) Bandish

(b) Kruti (ii) Singing

(c) Gandharva (iii) Sculpture

(d) Shalabhanjika (iv) Gopuchha

Code :

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

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

(B) (iv) (i) (iii) (ii)

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

(D) (iii) (i) (iv) (ii)

48. The last item of Odissi performance nomally is :

(A) Mangalam (B) Tarana

(C) Moksha (D) Laiharoba

49. Indicate the odd one out :

(A) Bhangara (B) Kummi

(C) Gof (D) Bhagavata Mela Natakam

50. Which foreigner has recently written a book on famous Indian dance guru ?

(A) Sharon Lowen (B) Iliana Citarasi

(C) Jean Erdman (D) Ann Marie Gaston

J—6507 20 47. âê¿è - I âð âê¿è - II ·¤æ ×ðÜæÙ ·¤èçÁ° :

âê¿è - I âê¿è - II

(a) ØçÌ (i) Õ´çÎàæ

(b) ·ë¤çÌ (ii) »æØÙ

(c) »´Ïßü (iii) çàæËÂ

(d) àææÜÖ´çÁ·¤æ (iv) »æðÂé‘À

·¤æðÇ :

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

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

(B) (iv) (i) (iii) (ii)

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

(D) (iii) (i) (iv) (ii)

48. ¥æðçÇâè ÙëˆØ ÂýÎàæüÙ ·¤è ¥´çÌ× ÂýSÌéçÌ âæ×æ‹ØÌÑ ãæðÌè ãñ :

(A) ×´»Ü×÷ (B) ÌÚæÙæ (C) ×æðÿæ (D) Üæ§ãÚæðÕæ

49. çßá× ·¤æð ¿éçÙØð Ñ

(A) Ö活Ǹæ (B) ·é¤×è

(C) »æðȤ (D) Öæ»ßÌ ×ðÜæ ÙæÅ·¤×÷

50. ç·¤â çßÎðàæè Ùð ¥Öè ¥Öè ÖæÚÌèØ ÙëˆØ ·ð¤ ÁæÙð×æÙð »éL¤ ÂÚ ÂéSÌ·¤ çܹè ãñ´?

(A) àæðÚUæðÙ ÜæðßðÙ (B) §üçÜØæÙæ âèÌæÚæâè

(C) ÁèÙ ¥Çü×æÙ (D) °× ×æÚè »ðSÅÙ

J—6507 21 P.T.O. PART - III DRAMA / THEATRE

26. Which dramatic form uses Chorus ? (A) Roman Drama (B) Shakespearen Drama (C) Greek Drama (D) Indian Drama

27. Which form of drama is based on songs ? (A) Opera (B) Melodrama (C) Ballet (D) None of the above

28. Vishnudas Bhave is dramatist of : (A) Bengali Theatre (B) Parsi Theatre (C) Marathi Theatre (D) None of the above

29. In which stage there is Trap door ? (A) Roman Stage (B) Greek Stage (C) Indian Stage (D) None of the above

30. In Panjabi Caueasion Chalk Circle Jointly directed by : (A) M. K. Raina and Kavita Nagpal (B) Bivash Chakravarty and Habib Tanbir (C) Vijay Mehta and Manoj Mitra (D) Kavita Nagpal and Gurusaran Singh

31. Tapas Sen is designer of modern Indian : (A) Stage Craft (B) Stage Music (C) Stage Lighting (D) None of the above

32. Find out the correct combination according to the code : (i) Plot (ii) Scenery (iii) Spectacle (iv) Music (A) (i), (ii) and (iii) are correct (B) (ii) and (iv) are correct (C) (i), (iii) and (iv) are correct (D) (ii), (iii) and (iii) are correct

J—6507 22 PART - III DRAMA / THEATRE

26. çِÙçÜç¹Ì ×ð´ âð â×êã »æÙ ·¤æ ÂýØæð» ç·¤â ÙæÅ·¤ M¤Â ×ð´ ç·¤Øæ ÁæÌæ ãñ? (A) Úæð×Ù ÙæÅ·¤ (B) àæð·¤çSÂØçÚØÙ ÙæÅ·¤ (C) »ýè·¤ ÙæÅ·¤ (D) ÖæÚÌèØ ÙæÅ·¤

27. çِÙçÜç¹Ì ×ð´ âð ·¤æñÙ âæ ÙæÅ·¤ M¤Â »èÌæð´ ÂÚ ¥æÏæçÚÌ ãñ Ñ (A) ¥æðÂðÚæ (B) ×ðÜæðÇþæ×æ (C) ÕñÜð (Ballet) (D) ©ÂÚæðQ¤ ×ð´ âð ·¤æð§ü Ùãè´

28. çßc‡æéÎæâ Öæßð ç·¤â Öæáæ-çÍ°ÅÚ ·ð¤ ÙæÅ·¤·¤æÚ ãñ´? (A) Õ´»æÜ çÍ°ÅÚ (B) ÂæÚâè çÍ°ÅÚ (C) ×ÚæÆè çÍ°ÅÚ (D) ©ÂÚæðQ¤ ×ð´ âð ·¤æð§ü Ùãè´

29. ç·¤â Âý·¤æÚ ·ð¤ ×´¿ ·ð´¤ ÅþñÂ-ÇæðÚ ·¤è ÃØßSÍæ ÚUãÌè ãñ? (A) Úæð×Ù ×´¿ (B) »ýè·¤ ×´¿ (C) ÖæÚÌèØ SÅðÁ (D) ©ÂÚæðQ¤ ×ð´ âð ·¤æð§ü Ùãè´

30. ´ÁæÕè ×ð´ Ò·¤æðÙæðçàæØÙ ¿æ·¤ â·ü¤ÜÓ ·¤æ â´ØéQ¤ L¤Â âð ç·¤Ù ×ð çÙÎðüàæÙ ç·¤Øæ Íæ ? (A) °×. ·ð¤. Úñ‡ææ ¥æñÚ ·¤çßÌæ Ùæ»ÂæÜ (B) çÕßðàæ ¿R¤ßÌèü ¥æñÚ ×ÙæðÁ ç×oýæ (C) çßÁØ ×ðãÌæ ¥æñÚ ×ÙæðÁ ç×oýæ (D) ·¤çßÌæ Ùæ»ÂæÜ ¥æñÚ »éÚàæڇæ çâ´ã

31. ÌÂâ âðÙ ¥æÏéçÙ·¤ ÖæÚÌèØ - ·¤æ çÇÁæ§ÙÚ ãñ Ñ (A) ×´¿ çàæË (B) ×´¿ â´»èÌ (C) ×´¿ Âý·¤æàæ ØæðÁÙæ (D) ©ÂÚæðQ¤ ×ð´ âð ·¤æð§ü Ùãè´

32. ÂýÎžæ ·¤æðǸ ·ð¤ ¥ÙéâæÚ âãè â×é“æØ ·¤æð ¿éçÙ°´ Ñ (i) ŒÜæÅ (ii) ²àØæßÜè (iii) ²cØæÌæ·¤Ìæ (iv) â´»èÌ (A) (i), (ii) ¥æñÚ (iii) âãè ãñ (B) (ii), (iii) ¥æñÚ (iv) âãè ãñ (C) (i), (iii) ¥æñÚ (iv) âãè ãñ (D) (ii) ¥æñÚ (iii) âãè ãñ

J—6507 23 P.T.O. 33. Assertion (A) : Bhatta Lollata says Rasa is not the visual or verbal presentation by writer or actor, but indeed, is the ‘idea’ which writers grasps.”

Reason (R) : Bhatt Lollata speaks only for arctor.

(A) (A) and (R) is both are true (B) (A) is true (R) is false

(C) (A) is false (R) is true (D) (A) and (R) is both false

34. Assertion (A) : ‘Synge has black spot in him’

Reason (R) : His patriotic sentiments were nonetheless more acute than his aesthetic sensibility.

(A) (A) is true (R) is false (B) (A) is false (R) is true

(C) (A) and (R) is both true (D) (A) and (R) is both false

35. Assertion (A) : Bharatwakya is an important part of play.

Reason (R) : It expresses the completeness of the content.

(A) (A) is true (R) is false (B) (A) and (R) both false

(C) (A) and (R) is both true (D) (A) is false and (R) is true

36. Assertion (A) : Meterlink’s early work is an attempt to dramatize existential powerlessness.

Reason (R) : He was school teacher.

(A) Both (A) and (R) true

(B) Both (A) and (R) true, but (R) is not correct explanation

(C) (A) is true but (R) is false

(D) (A) is false and (R) is true

37. Assertion (A) : Arthur Miller’s evoluation from immitator to innovator which occurred between publication of his first two works.

Reason (R) : Arthur Miller was a painter.

(A) Both (A) and (R) true (B) (A) is true and (R) is false

(C) Both (A) and (R) false (D) (A) is false and (R) is true

J—6507 24 33. ¥çÖ·¤ÍÙ (A) : Ö^ ÜæðÜéÅ ·¤ãÌð ãñ´ ÒÒÚâ ç·¤âè Üð¹·¤ ¥Íßæ Ú´» ¥çÖÙðÌæ ·¤è ÎëàØæˆ×·¤ ¥Íßæ ÖñçÚß·¤ ÂýSÌéçÌ Ùãè´ ãñ ÂڋÌé çÈ¤Ú Öè Øã °·¤ Òçß¿æÚÓ ãñ çÁâð ßã »ëã‡æ ·¤ÚÌæ ãñÐÓÓ

Ì·ü¤ (R) : Ö^ ÜæðÜéÅ Ùð ¥çÖÙðÌæ ·¤æ Âÿæ ÂýSÌéÌ ç·¤Øæ ãñÐ

(A) (A) ¥æñÚ (R) ÎæðÙæð´ ãè âãè ãñ´Ð (B) (A) âãè ãñ ÂڋÌé (R) »ÜÌ ãñ´Ð

(C) (A) »ÜÌ ãñ ¥æñÚ (R) âãè ãñÐ (D) (A) ¥æñÚ (R) ÎæðÙæð »ÜÌ ãñ´Ð

34. ¥çÖ·¤ÍÙ (A) : çâ´Á ·¤æ Ùæ× ÕÎÙæ× ãñÐ

Ì·ü¤ (R) : ©Ù·¤è ÎðàæÖçQ¤ ÂÚ·¤ ÖæßÙæ°´ ©â·¤è âæñ´ÎØü ÂæÚ ÖæßÙæ¥æð´ ÂÚ·¤ ÖæßÙæ¥æð´ ÂÚU ãæßè Íè´Ð

(A) (A) âãè ãñ (R) »ÜÌ ãñ´Ð (B) (A) »ÜÌ ãñ ¥æñÚ (R) âãè ãñд

(C) (A) ¥æñÚ (R) ÎæðÙæð´ âãè ãñ´Ð (D) (A) ¥æñÚ (R) ÎæðÙæð »ÜÌ ãñ´Ð

35. ·¤ÍÙ (A) : ÖÚÌßæ€Ø ÙæÅ·¤ ·¤æ ×ãˆßÂê‡æü Öæ» ãñÐ

·¤æڇæ (R) : ßã ¥æàæØ ·¤è â´Âê‡æüÌæ ·¤æð ¥çÖÃØQ¤ ·¤ÚÌæ ãñÐ

(A) (A) âãè ãñ (R) »ÜÌ ãñ´Ð (B) (A) »ÜÌ ãñ ¥æñÚ (R) »ÜÌ ãñÐ

(C) (A) âãè ãñ (R) âãè ãñ´Ð (D) (A) »ÜÌ (R) âãè ãñÐ

36. ·¤ÍÙ (A) : ×ðÅÚçÜ´€â ·¤æ ÂýæÚçÖ·¤ ·¤æØü ¥çSÌˆß ·¤è ÿæ×Ìæ ãèÙÌæ ·¤æ ÙæÅ·¤èØ·¤Ú‡æ ãñÐ

·¤æڇæ (R) : ßæðð S·ê¤Ü Åè¿Ú ÍðÐ

(A) (A) âãè ãñ (R) âãè ãñ´Ð

(B) (A) âãè ãè (R) âãè, Üðç·¤Ù (R) âãè Ã؁Øæ Ùãè ãñÐ

(C) (A) âãè ãñ (R) »ÜÌ ãñ´Ð

(D) (A) »ÜÌ (R) âãè ãñÐ

37. ·¤ÍÙ (A) : ¥Ùé·¤ÚU‡æ·¤Ìæü âð ÂýßÌü·¤ ·¤è ÌÚUã ¥æÍüÚU ç×ÜÚU ·¤æ ÂçÚU·ý¤×‡æ ©Ù·ð¤ ÂýÍ× Îæð ·¤æØæðZ ·ð¤ Âý·¤æàæÙ ·ð¤ ÎæñÚUæÙ ãé¥æÐ

·¤æڇæ (R) : ¥æÍüÚ ç×ÜÚ ç¿˜æ·¤æÚ ÍðÐ

(A) (A) ¥æñÚ (R) âãè ãñ´Ð (B) (A) âãè ãè (R) »ÜÌ ãñÐ

(C) (A) ¥æñÚ (R) »ÜÌ ãñ´Ð (D) (A) »ÜÌ (R) âãè ãñÐ J—6507 25 P.T.O. 38. Match the items in List - I with that items in List - II : List - I List - II (a) Utpal Dutta (i) Kanyadan (b) Vijay Tendulkar (ii) Bag Bancharamki (c) Mahesh Elkunchwar (iii) Wada Chirebandy (d) Manoj Mitra (iv) Tiner Talwar Code : (a) (b) (c) (d) (A) (iii) (i) (ii) (iv) (B) (iv) (i) (iii) (ii) (C) (iv) (iii) (ii) (i) (D) (iv) (i) (ii) (iii)

39. Match List - I with List - II : List - I List - II (a) Ibsen (i) The three sisters (b) Chekov (ii) The Father (c) Stringberg (iii) Before Sunrise (d) Hauptmann (iv) The Wild Duck Code : (a) (b) (c) (d) (A) (iv) (i) (ii) (iii) (B) (i) (iii) (iv) (ii) (C) (iii) (iv) (i) (ii) (D) (ii) (iv) (iii) (i)

40. Match List - I with List - II : List - I List - II (a) Bhas (i) Malavikagni Mitra (b) Bishakdutta (ii) Charudutta (c) Bhavbhuti (iii) Mudra Rakshash (d) Kalidas (iv) Mahavircharit Code : (a) (b) (c) (d) (A) (i) (iv) (iii) (ii) (B) (ii) (iii) (iv) (i) (C) (iii) (iv) (i) (ii) (D) (iv) (i) (ii) (iii) J—6507 26 38. âê¿è - I âð âê¿è - II ·¤æ ç×ÜæÙ ·¤èçÁØð : âê¿è - I âê¿è - II (a) ©ˆÂÜ Îžæ (i) ·¤‹ØæÎæÙ (b) çßÁØ Ìð´ÇêÜ·¤Ú (ii) Õæ» Õ´¿Ú´·¤è (c) ×ãðàæ ¥æðÜ·¡é¤¿ßæÚ (iii) ßæÇ¸æ ¿èÚðՋÎè (d) ×ÙæðÁ çטæ (iv) çÌÙðÚ ÌÜßæÚ ·¤æðÇ : (a) (b) (c) (d) (A) (iii) (i) (ii) (iv) (B) (iv) (i) (iii) (ii) (C) (iv) (iii) (ii) (i) (D) (iv) (i) (ii) (iii)

39. âê¿è - I âð âê¿è - II ·¤æ ç×ÜæÙ ·¤èçÁØð : âê¿è - I âê¿è - II (a) §ŽâÙ (i) Ï Íýè âèSÅâü (b) ¿ðâæðß (ii) Ï $ȤæÎüÚ (c) SÅþè´ÁÕ»ü (iii) ÕèȤæðÚ âÙÚæ§üÛæ (d) ãæðÂ×Ù (iv) Ï ßæ§ËÇU Ç·¤ ·¤æðÇ : (a) (b) (c) (d) (A) (iv) (i) (ii) (iii) (B) (i) (iii) (iv) (ii) (C) (iii) (iv) (i) (ii) (D) (ii) (iv) (iii) (i)

40. âê¿è - I âð âê¿è - II ·¤æ ç×ÜæÙ ·¤èçÁ° : âê¿è - I âê¿è - II (a) Öæá (i) ×æÜçß·¤»Aè çטæ (b) çßàææ¹Îžæ (ii) ¿æL¤Îžæ (c) ÖßÖêçÌ (iii) ×éÎýæ-Úæÿæâ (d) ·¤æçÜÎæâ (iv) ×ãæßèÚ ¿çÚ˜æ ·¤æðÇ : (a) (b) (c) (d) (A) (i) (iv) (iii) (ii) (B) (ii) (iii) (iv) (i) (C) (iii) (iv) (i) (ii) (D) (iv) (i) (ii) (iii)

J—6507 27 P.T.O. 41. Match List - I with List - II : List - I List - II (a) Kerala (i) Jatra (b) Maharashtra (ii) Ankianat (c) Assam (iii) Kalaripayattu (d) Bengal (iv) Tamasha Code : (a) (b) (c) (d) (A) (iii) (iv) (i) (ii) (B) (iii) (iv) (ii) (i) (C) (iii) (i) (iv) (ii) (D) (ii) (iii) (i) (iv)

42. Match List - I with List - II : List - I List - II (a) Vidushak (i) Third Theatre (b) Badal Sarkar (ii) Sanskrit Theatre (c) Dashavtar (iii) Teejanbai (d) Pandwanj (iv) Maharashtra Code : (a) (b) (c) (d) (A) (i) (ii) (iii) (iv) (B) (iv) (ii) (i) (iii) (C) (ii) (i) (iv) (iii) (D) (i) (iii) (ii) (iv)

43. The correct order of the five stages of Arthaprakriti is : (A) Bindu, Prakari, Pataka, Karya, Bija (B) Karya, Bija, Prakari, Pataka, Bindu (C) Bija, Bindu, Pataka, Prakari, Karya (D) Pataka, Bindu, Karya, Prakari, Bija

44. Put it in correct sequence : (A) Kamala / Sakharam Binder / Shantata Court Chaalu Aahe / Ghashiram Kotwal (B) Shantata Court Chaalu Aahe / Ghashiram Kotwal / Sakharam Binder / Kamala (C) Sakharam Binder / Kamala / Shantata Court Chaalu Aahe / Ghashiram Kotwal (D) Ghashiram Kotwal / Sakharam Binder / Kamala / Shantata Court Chaalu Aahe

J—6507 28 41. âê¿è - I âð âê¿è - II ·¤æ ç×ÜæÙ ·¤èçÁ° : âê¿è - I âê¿è - II (a) ·ð¤ÚÜæ (i) Áæ˜ææ (b) ×ãæÚæCþ (ii) ¥´ç·¤¥æÙæÅ (c) ¥æâæ× (iii) ·¤ÜæÚèÂæ´ØÌé (d) Õ´»æÜ (iv) Ì×æàææ ·¤æðÇ : (a) (b) (c) (d) (A) (iii) (iv) (i) (ii) (B) (iii) (iv) (ii) (i) (C) (iii) (i) (iv) (ii) (D) (ii) (iii) (i) (iv)

42. âê¿è - I âð âê¿è - II ·¤æ ç×ÜæÙ ·¤èçÁ° : âê¿è - I âê¿è - II (a) çßÎêá·¤ (i) ÍÇü Íè¥ðÅÚ (b) ÕæÎÜ âÚ·¤æÚ (ii) â´S·ë¤Ì çÍ¥ðÅÚ (c) ÎðàææßÌæÚ (iii) Ìè$ÁÙÕæ§ü (d) ´ÇßæÁè (iv) ×ãæÚæCþ ·¤æðÇ : (a) (b) (c) (d) (A) (i) (ii) (iii) (iv) (B) (iv) (ii) (i) (iii) (C) (ii) (i) (iv) (iii) (D) (i) (iii) (ii) (iv)

43. ¥ÍüÂý·¤æàæ ·ë¤Ìè ·¤è Âæ¿ oýðç‡æØæ¡ ØÍæðç¿Ì R¤× ×ð §â ÌÚã Ñ (A) çÕ´Îê, Âý·¤æÚè, ÂÌæ·¤æ, ·¤æØü, ÕèÁ (B) ·¤æØü, ÕèÁ, Âý·¤æÚè, ÂÌæ·¤æ, çÕ´Îê (C) ÕèÁ, çÕ´Îê, ÂÌæ·¤æ, Âý·¤æÚè, ·¤æØü (D) ÂÌæ·¤æ, çÕ´Îê, ·¤æØü, Âý·¤æÚè, ÕèÁ

44. ©ç¿Ì R¤× âð Úç¹Øð Ñ (A) ·¤×Üæ / â¹æÚæ× Õ槴ÇÚ / àææ´ÌÌæ! ·¤æðÅü ÁæÚè ãñ / ƒææâèÚæ× ·¤æðÌßæÜ (B) àææ´ÌÌæ! ·¤æðÅü ÁæÚè ãñ / ƒææâèÚæ× ·¤æðÌßæÜ / â¹æÚæ× Õ槴ÇÚ / ·¤×Üæ (C) â¹æÚæ× Õ槴ÇÚ / ·¤×Üæ / àææ´ÌÌæ! ·¤æðÅü ÁæÚè ãñ / ƒææâèÚæ× ·¤æðÌßæÜ (D) ƒææâèÚæ× ·¤æðÌßæÜ / â¹æÚæ× Õ槴ÇÚ / ·¤×Üæ / àæ´ÌÌæ! ·¤æðÅü ÁæÚè ãñ

J—6507 29 P.T.O. 45. Put it in correct sequence : (A) Tughlak / Haivadan / Agnivarsha / Naagmandalam (B) Haivadan / Tughlak / Naagmandalam / Agnivarsha (C) Agnivarsha / Tughlak / Naagmandalam / Haivadan (D) Naagmandalam / Agnivarsha / Haivndan / Tughlak

46. Put it in correct sequence : (A) Bharatvakya, Nandi, Natak, Sutradhar (B) Sutradhar, Natak, Nandi, Bharatvakya (C) Natak, Sutradhar, Bharatvakya, Nandi (D) Nandi, Sutradhar, Natak, Bharatvakya

47. Put it in correct sequence : (A) Paramparik, Sanskrit Theatre, Modern Theatre, Street Theatre (B) Sanskrit Theatre, Paramparik, Modern Theatre, Street Theatre (C) Street Theatre, Paramparik, Sanskrit Theatre, Modern Theatre (D) Sanskrit Theatre, Modern Theatre, Street Theatre, Paramparik

48. Who is famous for Fareieal play : (A) Shakespeare (B) Bernad Shaw (C) Moliere (D) Ibsen

49. Theatre form of Indonesia is : (A) Ramavatar (B) Dengaku-noh (C) Suruga-ku-noh (D) None of the above

50. Jogesh Dutta is famous for : (A) Acting (B) Mime (C) Music (D) Dancer

- o O o -

J—6507 30 45. ©ç¿Ì R¤× ×ð çܹð Ñ

(A) Ìé»Ü·¤ / ãØßÎÙ / ¥ç»Aßáæü / Ùæ»×´ÇÜ×÷

(B) ãØßÎÙ / Ìé»Ü·¤ / Ùæ»×´ÇÜ×÷ / ¥ç»Aßáæü

(C) ¥ç»Aßáæü / Ìé»Ü·¤ / Ùæ»×´ÇÜ×÷ / ãØßÎÙ

(D) Ùæ»×´ÇÜ×÷ / ¥ç»Aßcææü / ãØßÎÙ / Ìé»Ü·¤

46. ©ç¿Ì R¤× âð çܹð Ñ

(A) ÖÚÌßæ€Ø, Ù´æÎè, ÙæÅ·¤, âê˜æÏæÚ (B) âê˜æÏæÚ, ÙæÅ·¤, Ùæ´Îè, ÖÚÌßæ€Ø

(C) ÙæÅ·¤, âê˜æÏæÚ, ÖÚÌßæ€Ø, Ùæ´Îè (D) Ùæ´Îè, âê˜æÏæÚ, ÙæÅ·¤, ÖÚÌßæ€Ø

47. ©ç¿Ì R¤× âð çܹð Ñ

(A) ÂæÚ´ÂçÚ·¤, â´S·ë¤Ì ÙæÅ·¤, ¥æÏéçÙ·¤ Ú´»×´¿, ÂÍÙæÅK

(B) â´S·ë¤Ì ÙæÅ·¤, ÂæÚ´ÂçÚ·¤, ¥æÏéçÙ·¤ Ú´»×´¿, ÂÍÙæÅK

(C) ÂÍÙæÅK, ÂæÚ´ÂçÚ·¤, â´S·ë¤Ì ÙæÅ·¤, ¥æÏéçÙ·¤ Ú´»×´¿

(D) â´S·ë¤Ì ÙæÅ·¤, ¥æÏéçÙ·¤ Ú´»×´¿, ÂÍÙæÅK, ÂæÚ´ÂçÚ·¤

48. ÂýãâÙ ·ð¤ çÜØð ·¤æñÙ Âýçâh ãñ?

(A) àæð€âçÂØÚ (B) ÕÙæüǸàææð (C) ×æðçÜØðÚ (D) §ŽâÙ

49. §‹ÇæðÙðçàæØæ ·¤æ ÙæÅK M¤Â ãñ Ñ

(A) Úæ×æßÌæÚ (B) Îð‹»æ·é¤-Ùæðã

(C) âéL¤»æ-·é¤-Ùæðã (D) ©ÂÚØéQ¤ ·¤æð§ü Ùãè´

50. Áæð»ðàæ Ξææ Âýçâh ãñ Ñ

(A) ÙæÅK (B) ×æ§ü× (C) â´»èÌ (D) ÙëˆØ

- o O o -

J—6507 31 P.T.O. Space For Rough Work

J—6507 32