X-12 Ins. Page (Paper-II)

PAPER-II PERFORMING ART 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.______D 6 5 1 0 (In words) 1 Time : 1 /4 hours] [Maximum Marks : 100 Number of Pages in this Booklet : 24 Number of Questions in this Booklet : 50 Instructions for the Candidates ¯Ö¸üßÖÖÙ£ÖµÖÖë êú ×»Ö ×Ö¤ìü¿Ö 1. Write your roll number in the space provided on the top of 1. ¯ÖÆü»Öê ¯ÖéÂü êú ú¯Ö¸ü ×ÖµÖÖ Ã£ÖÖÖ ¯Ö¸ü ¯ÖÖÖ ¸üÖê»Ö Ö´²Ö¸ü ×»Ö×Ö this page. 2. ÃÖ ¯ÖÏ¿Ö-¯Ö¡Ö ´Öë ¯ÖÖÖÃÖ ²ÖÆãü×¾Öú»¯ÖßµÖ ¯ÖÏ¿Ö Æïü 2. This paper consists of fifty multiple-choice type of questions. 3. ¯Ö¸üßÖÖ ¯ÖÏÖ¸ü´³Ö ÆüÖêÖê ¯Ö¸ü, ¯ÖÏ¿Ö-¯ÖãÛÃÖúÖ Ö¯ÖúÖê ¤êü ¤üß ÖÖµÖêÖß ¯ÖÆü»Öê ¯ÖÖÑÖ 3. At the commencement of examination, the question booklet ×´ÖÖü Ö¯ÖúÖê ¯ÖÏ¿Ö-¯ÖãÛÃÖúÖ ÖÖê»ÖÖê Ö£ÖÖ ÃÖúß ×Ö´Ö×»Ö×ÖÖ ÖÖÑÖ êú will be given to you. In the first 5 minutes, you are requested ×»Ö ×¤üµÖê ÖÖµÖëÖê, ×ÖÃÖúß ÖÖÑÖ Ö¯ÖúÖê ¾Ö¿µÖ ú¸üÖß Æîü : to open the booklet and compulsorily examine it as below : (i) ¯ÖÏ¿Ö-¯ÖãÛÃÖúÖ ÖÖê»ÖÖê êú ×»Ö ÃÖêú ú¾Ö¸ü ¯ÖêÖ ¯Ö¸ü »ÖÖß úÖÖÖ úß (i) To have access to the Question Booklet, tear off the paper ÃÖß»Ö úÖê ±úÖÍü »Öë Öã»Öß ÆãüÔ µÖÖ ×²ÖÖÖ Ãüßú¸ü-ÃÖß»Ö úß ¯ÖãÛÃÖúÖ seal on the edge of this cover page. Do not accept a booklet without sticker-seal and do not accept an open booklet. Ã¾ÖßúÖ¸ü Ö ú¸ëü (ii) Tally the number of pages and number of questions in (ii) ú¾Ö¸ü ¯ÖéÂü ¯Ö¸ü û¯Öê ×Ö¤ìü¿ÖÖÖãÃÖÖ¸ü ¯ÖÏ¿Ö-¯ÖãÛÃÖúÖ êú ¯ÖéÂü Ö£ÖÖ ¯ÖÏ¿ÖÖë the booklet with the information printed on the cover úß ÃÖÓµÖÖ úÖê ûß Ö¸üÆü Öîú ú¸ü »Öë ×ú µÖê ¯Öæ¸êü Æïü ¤üÖêÂÖ¯ÖæÖÔ page. Faulty booklets due to pages/questions missing ¯ÖãÛÃÖúÖ ×ÖÖ´Öë ¯ÖéÂü/¯ÖÏ¿Ö ú´Ö ÆüÖë µÖÖ ¤ãü²ÖÖ¸üÖ Ö ÖµÖê ÆüÖë µÖÖ ÃÖß×¸üµÖ»Ö or duplicate or not in serial order or any other ´Öë Ö ÆüÖë £ÖÖÔÖ ×úÃÖß ³Öß ¯ÖÏúÖ¸ü úß ¡Öã×ü¯ÖæÖÔ ¯ÖãÛÃÖúÖ Ã¾ÖßúÖ¸ü Ö discrepancy should be got replaced immediately by a ú¸ëü Ö£ÖÖ ÃÖß ÃÖ´ÖµÖ ÃÖê »ÖÖîüÖú¸ü ÃÖêú Ã£ÖÖÖ ¯Ö¸ü ¤æüÃÖ¸üß ÃÖÆüß correct booklet from the invigilator within the period ¯ÖÏ¿Ö-¯ÖãÛÃÖúÖ »Öê »Öë ÃÖêú ×»Ö Ö¯ÖúÖê ¯ÖÖÑÖ ×´ÖÖü ×¤üµÖê ÖÖµÖëÖê of 5 minutes. Afterwards, neither the Question Booklet ÃÖêú ²ÖÖ¤ü Ö ÖÖê Ö¯Öúß ¯ÖÏ¿Ö-¯ÖãÛÃÖúÖ ¾ÖÖ¯ÖÃÖ »Öß ÖÖµÖêÖß Öî¸ü Ö will be replaced nor any extra time will be given. Æüß Ö¯ÖúÖê ×Ö×¸üÖ ÃÖ´ÖµÖ ×¤üµÖÖ ÖÖµÖêÖÖ (iii) After this verification is over, the OMR Sheet Number (iii) ÃÖ ÖÖÑÖ êú ²ÖÖ¤ü OMR ¯Ö¡Öú úß Îú´Ö ÃÖÓµÖÖ ÃÖ ¯ÖÏ¿Ö-¯ÖãÛÃÖúÖ ¯Ö¸ü should be entered on this Test Booklet. Ó×úÖ ú¸ü ¤ëü 4. Each item has four alternative responses marked (A), (B), (C) 4. ¯ÖÏµÖêú ¯ÖÏ¿Ö êú ×»Ö ÖÖ¸ü ¢Ö¸ü ×¾Öú»¯Ö (A), (B), (C) Ö£ÖÖ (D) ×¤üµÖê ÖµÖê and (D). You have to darken the oval as indicated below on the Æïü Ö¯ÖúÖê ÃÖÆüß ¢Ö¸ü êú ¤üßÖÔ¾Öé¢Ö úÖê ¯ÖêÖ ÃÖê ³Ö¸üú¸ü úÖ»ÖÖ ú¸üÖÖ Æîü ÖîÃÖÖ correct response against each item. ×ú ÖßÖê ×¤üÖÖµÖÖ ÖµÖÖ Æîü Example : A BC D ¤üÖÆü¸üÖ : A BC D where (C) is the correct response. Ö²Ö×ú (C) ÃÖÆüß ¢Ö¸ü Æîü 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 5. ¯ÖÏ¿ÖÖë êú ¢Ö¸ü êú¾Ö»Ö ¯ÖÏ¿Ö ¯Ö¡Ö I êú ¤ü¸ü ×¤üµÖê ÖµÖê ¢Ö¸ü-¯Ö¡Öú ¯Ö¸ü Æüß Ó×úÖ any place other than in the ovals in the Answer Sheet, it will ú¸üÖê Æïü µÖ×¤ü Ö¯Ö ¢Ö¸ü ¯Ö¡Öú ¯Ö¸ü ×¤üµÖê ÖµÖê ¤üßÖÔ¾Öé¢Ö êú »ÖÖ¾ÖÖ ×úÃÖß µÖ not be evaluated. Ã£ÖÖÖ ¯Ö¸ü ¢Ö¸ü ×ÖÅÖÖÓ×úÖ ú¸Öê Æïü, ÖÖê ÃÖúÖ ´Öæ»µÖÖÓúÖ ÖÆüà ÆüÖêÖÖ 6. Read instructions given inside carefully. 6. ¤ü¸ü ×¤üµÖê ÖµÖê ×Ö¤ìü¿ÖÖë úÖê ¬µÖÖÖ¯Öæ¾ÖÔú ¯ÖÍëü 7. Rough Work is to be done in the end of this booklet. 7. úÖÖ úÖ´Ö (Rough Work) ÃÖ ¯ÖãÛÃÖúÖ êú ÛÖ´Ö ¯ÖéÂü ¯Ö¸ü ú¸ëü 8. If you write your name or put any mark on any part of the test 8. µÖ×¤ü Ö¯Ö ¢Ö¸ü-¯ÖãÛÃÖúÖ ¯Ö¸ü ¯ÖÖÖ ÖÖ´Ö µÖÖ êÃÖÖ úÖêÔ ³Öß ×Ö¿ÖÖÖ ×ÖÃÖÃÖê booklet, except for the space allotted for the relevant entries, Ö¯Öúß ¯ÖÆüÖÖÖ ÆüÖê ÃÖêú, ×úÃÖß ³Öß ³ÖÖÖ ¯Ö¸ü ¤ü¿ÖÖÔÖê µÖÖ Ó×úÖ ú¸üÖê Æïü ÖÖê which may disclose your identity, you will render yourself ¯Ö¸üßÖÖ êú ×»ÖµÖê µÖÖêµÖ ÖÖê×ÂÖÖ ú¸ü ×¤üµÖê ÖÖµÖëÖê liable to disqualification. 9. Ö¯ÖúÖê ¯Ö¸üßÖÖ ÃÖ´ÖÖ¯Ö ÆüÖêÖê ¯Ö¸ü ¯ÖÏ¿Ö-¯ÖãÛÃÖúÖ ¾ÖÓ OMR ¢Ö¸ü-¯Ö¡Öú 9. You have to return the test question booklet and OMR Answer ×Ö¸üßÖú ´ÖÆüÖê¤üµÖ úÖê »ÖÖîüÖÖÖ Ö¾Ö¿µÖú Æîü Öî¸ü ¯Ö¸üßÖÖ ÃÖ´ÖÖÛ¯Ö êú ²ÖÖ¤ü ÃÖê sheet to the invigilators at the end of the examination compulsorily and must not carry it with you outside the ¯ÖÖê ÃÖÖ£Ö ¯Ö¸üßÖÖ ³Ö¾ÖÖ ÃÖê ²ÖÖÆü¸ü Ö »Öêú¸ü ÖÖµÖë Examination Hall. 10. êú¾Ö»Ö Öß»Öê/úÖ»Öê ²ÖÖ»Ö ¯¾ÖÖÕü ¯ÖêÖ úÖ Æüß ÃÖê´ÖÖ»Ö ú¸ëü 10. Use only Blue/Black Ball point pen. 11. ×úÃÖß ³Öß ¯ÖÏúÖ¸ü úÖ ÃÖÓÖÖú (îú»Öãú»Öêü¸ü) µÖÖ »ÖÖÖ êü²Ö»Ö Ö×¤ü úÖ 11. Use of any calculator or log table etc., is prohibited. ¯ÖÏµÖÖêÖ ¾ÖÙÖÖ Æîü 12. There is no negative marks for incorrect answers. 12. Ö»ÖÖ ¢Ö¸üÖë êú ×»Ö úÖêÔ Óú úÖêü ÖÆüà ÖÖÑÖê D-65-10 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 / Drama / Theatre 1. Match the List – I with List – II : 4. Match List – I with List – II : List – I List – II List – I List – II (a) Drishya (i) Performance (a) Yavanika (i) Natya Shastra Kavya Text (b) NQGL (ii) Bhakti Rasa (b) Prayoga (ii) Dramatic Text (c) Vaishnavism (iii) Java (c) Gubbi (iii) Sanjana (d) Kuru yadu (iv) Ashtapadi Viranna Kapoor nandana (d) Prithvi Theatre (iv) B.V. Karanth Code : Code : (a)(b)(c)(d) (a)(b)(c)(d) (A)(i)(iii)(ii)(iv) (A)(ii)(i)(iv)(iii) (B)(iii)(i)(ii)(iv) (B)(i)(iii)(ii)(iv) (C)(ii)(iii)(iv)(i) (C)(iii)(ii)(i)(iv) (D)(iii)(iv)(ii)(i) (D)(iv)(i)(ii)(iii) 5. Match List – I with List – II : 2. Match the List – I with List – II : List – I List – II List – I List – II (a) Mask (i) Feet movement (a) Yati (i) TamilnGX (b) Terakootu (ii) (b) Movement (ii) Nandi 3 GD (c) Invocation (iii) Pratimukha (c) Utgha t tita (iii) .. 7 OD (d) Chari (iv) Karana Ì (d) 3 UYDUDQJD (iv) Natya Shastra Code : Code : (a)(b)(c)(d) (a)(b)(c)(d) (A)(ii)(i)(iv)(iii) (A)(iii)(iv)(ii)(i) (B)(ii)(iii)(i)(iv) (B)(iii)(iv)(i)(ii) (C)(iii)(i)(ii)(iv) (C)(iii)(i)(iv)(ii) (D)(i)(ii)(iv)(iii) (D)(ii)(iii)(i)(iv) 6. Match List – I with List – II : 3. Match the following List – I with List – II : List – I List – II List – I List – II (a) Pattabhiraman (i) Bharatanatyam (a) Marcel Marceau (i) Actor (b) M.K. Saroja (ii) Festival (b) Richard Attenboro (ii) Mime (c) Ananya (iii) Sruti (c) Ben Kingsly (iii) Director (d) Kasargode (iv) Yakshagana (d) Mikhail Baryshnikov (iv) Dancer Code : Code : (a)(b)(c)(d) (a)(b)(c)(d) (A)(iii)(i)(ii)(iv) (A)(iii)(ii)(iv)(i) (B)(iv)(i)(iii)(ii) (B)(i)(iv)(ii)(iii) (C)(ii)(iii)(i)(iv) (C)(ii)(i)(iv)(iii) (D)(i)(iv)(iii)(ii) (D)(ii)(iii)(i)(iv) Paper-II 2 D-65-10 ·Ê···zÝoÛ´Ýq··´t· ·° ··· – II ¸· ·Ë£·¤·Çt···m² ·ÝÀc···Â··q·IoËÛ¤··À·° ··ÌoËÛj·Ý ÌÝg·§Ý··q·h¸····µ§ÏÝg·ÝÀc···Â··q·IIh·ÏÝ ··q·III·Ì¤·Ë¸oÛ¤·ÀmoÛ··q·oËÛ¤··À·° ··ÌoËÛj·Ý ÌÝg·°·ËoÛ·° ·oËÛ Ý·Ëh´oÛ§ÐÝg ·ÝÀc···Âh··Ët··¸····q·oÛ·Ë205j·Ý···Ì¤·£zÝß·¤·Ëh´¸oÛ·oÛÌÝg ··q· – I ·Ê···zÝoÛ´Ýq··´t·¤··ÀoËÛ¸·m 1. ¤·Çt·À – I ···¤·Çt·À – II oÛ·Ë¤·Ä·Ë¸··oÛÀ¸v·m : 4. ¤·Çt·À – I oÛ·Ë ¤·Çt·À – II oËÛ¤ ··· ¤·Ä·Ë¸·· ¤·Çt·À – I ¤·Çt·À – II oÛÀ¸v·m : (a) Ý ·oÛ·· (i) ·ÝÛ·Ó·Î¤·zËÝn¤zÝ ¤·Çt·À – I ¤·Çt·À – II (a) ··¸·oÛ· (i) ··z¬Ý· ··¤· (b) ·°··Ëq· (ii) |³Ý··Ë¸zÝoÛzËÝn¤zÝ (b) ·· ÝÀ (ii) ·¼n·Ý¤· (c) q·Ä·À·ÀÝ·· (iii) ¤·´v···oÛ·ÇÝ (c) ·Ï£~···· Ý (iii) v··· (d) ·Ê·À¸··ËzÝÝ (iv) ·À·ÀoÛ·´Ý· (d) oÄÛÞ· ÄÝ·´ Ý· (iv) h£zÝ· ÝÀ oÇÛzÝ oÇÛzÝ : (a)(b)(c)(d) (a)(b)(c)(d) (A)(ii)(i)(iv)(iii) (A)(i)(iii)(ii)(iv) (B)(i)(iii)(ii)(iv) (B)(iii)(i)(ii)(iv) (C)(iii)(ii)(i)(iv) (D)(iv)(i)(ii)(iii) (C)(ii)(iii)(iv)(i) (D)(iii)(iv)(ii)(i) 2. ¤·Çt·À – I oÛ·Ë ¤·Çt·À – II oËÛ¤ ··· ¤·Ä·Ë¸·· oÛÀ¸v·m : 5. ¤·Çt·À – I oÛ·Ë¤·Çt·À – II ¤·Ë¤·Ä·Ë¸··oÛÀ¸v·m : ¤·Çt·À – I ¤·Çt·À – II ¤·Çt·À – I ¤·Çt·À – II (a) ·Äp··ÏzÝ· (i) ·· Ýt··· (a) ·¸· (i) ·¸····|ÄÝ (b) §Ý··t··· (ii) ·· ÝÀ (b) ·ËÝ·oÄÛ·Ä (ii) ·· Ý (c) ·°··µ·· (iii) ·°¸··Äp· (c) jr·¸zÝ· (iii) ··· (d) t··ÝÀ (iv) oÛÝ~· (d) ·Ç·µ´Ýq· (iv) ··z¬Ý· ··¤· oÇÛzÝ : oÇÛzÝ : (a)(b)(c)(d) (a)(b)(c)(d) (A)(iii)(iv)(ii)(i) (A)(ii)(i)(iv)(iii) (B)(iii)(iv)(i)(ii) (B)(ii)(iii)(i)(iv) (C)(iii)(i)(iv)(ii) (C)(iii)(i)(ii)(iv) (D)(ii)(iii)(i)(iv) (D)(i)(ii)(iv)(iii) 6. ¤·Çt·À – I oÛ·Ë ¤·Çt·À – II oËÛ¤ ··· ¤·Ä·Ë¸·· 3. ¤·Çt·À – I ···¤·Çt·À – II oÛ·Ë¤·Ä·Ë¸··oÛÀ¸v·m : oÛÀ¸v·m : ¤·Çt·À – I ¤·Çt·À – II ¤·Çt·À – I ¤·Çt·À – II (a) ·Ý·¸·Ý··· (i) ·Ý···z¬Ý·· (a) ··¤·µ···¤··Íj (i) h¸··Ë·· (b) m·oËÛ¤·Ý·Ëv·· (ii) j¤·· (b) ¸ÝÝt··|µÝmzÝ··Ý·Ë (ii) ··i· (c) h··· (iii) ¢·Ä¸· (c) ·Ë·¹oÛq¤·À (iii) ¸· ÍÝ ·oÛ (d) ¸·p··i··ËÝÀ Ý·ÀoÛ·Ë· (iv) ··µoÛ (d) oÛ·¤·Ýq··Ë|®Ý (iv) ·c·q··· oÇÛzÝ : oÇÛzÝ : (a)(b)(c)(d) (a)(b)(c)(d) (A)(iii)(ii)(iv)(i) (A)(iii)(i)(ii)(iv) (B)(iv)(i)(iii)(ii) (B)(i)(iv)(ii)(iii) (C)(ii)(iii)(i)(iv) (C)(ii)(i)(iv)(iii) (D)(i)(iv)(iii)(ii) (D)(ii)(iii)(i)(iv) D-65-10 3 Paper-II 7. Assertion (A): Indian folk dance 11. Assertion (A): Modern mime is and drama are losing their capable of very fluid transitions identity. of moods. Reason (R): Both forms are Reason (R): Mime is a affected by globalization. predominant aspect in modern Code : theatre. (A)(A) is right (R) is false. Code : (B)(A) and (R) both are false. (A)(A) is true (R) is false. (C)(A) is false (R) is right. (B)(R) is true (A) is false. (D)(A) and (R) both are right. (C) Both (A) and (R) are false. 8. Assertion (A): Body training is a (D) Both (A) and (R) are true. must for actors and dancers. Reason (R): Both need it for 12. Which are not correctly matched ? stage presence. (A) Vaisnavism – Bhagwat purana Code : (A)(A) is false, (R) is true. (B) Guruvayur – Krishnattam (B)(A) is right, (R) is false. (C) Kudiyattam – Koothambalam (C) Both (A) and (R) are false. (D) Geet-Govinda – Valmiki (D) Both (A) and (R) are true.

9. Assertion (A): Literal reproduction 13. Pick the correct one : or imitation cannot be termed as If the Indian author who has written 1 W\D both on dance and drama is Reason (R):1W\DL VD Q $UW inspiring aesthetic appreciation. (A) Anuradha Kapoor Code : (B) Devendra Ankoor (A)(A) is true, (R) is false. (C) Shanta Sarbjit Singh (B)(R) is true, (A) is false. (D) Kapila Vatsyayan (C)(A) and (R) are true. (D)(A) and (R) are false. 14. Choose odd one out. (A) Premlata Sharma 10. Assertion (A): There is no set and (B) Kapila Vatsyayan sceneries in traditional Asian (C) Vijaya Mehta theatre. (D) V. Raghavan Reason (R): Exaggerated and stylised costumes, make up and properties stand as part of the set 15. Pick the odd one out. and sceneries. The much often used themes in Code : Indian Dance and Theatre are (A)(A) is true (R) is true. (A) Draupadi Cheer Haran (B)(A) is false (R) is true. (B) Abhimanyu’s fall (C)(A) is false (R) is false. (C) Krishnalila (D)(A) is true (R) is false. (D) Ramakatha Paper-II 4 D-65-10 7. h¸·oÛ·· (A): ··Ý·À· ··ËoÛ ·Ê· ··· 11. h¸·oÛ·· (A): h··Ä¸·oÛ ··i· ····Ìo ËÛ ··zÝoÛh··À·§Ýt···p··ËÝ§ËÝ§ÐÝg h¼¤·Ý·°··§Ý·Ì¤·c··§ÏÝg oÛ·Ý~· (R) : ·Ë Ý·Ë··Ì ¤·ß· ·Ï ·ÀoÛÝ~·¤ ·Ë oÛ·Ý~· (R) : ··i·h ··Ä¸·oÛ ´Ýq··´t·o Û· ·°··¸··§ÄÝm§ÐÝg ·°····c·§ÏÝg oÇÛzÝ oÇÛzÝ (A)(A) ¤·§ÝÀ (R) q···g (A)(A) ¤·§ÝÀ§ÏÝ (R) q···§ÏÝg (B)(A) h·ÏÝ (R) Ý·Ë··Ìq···g (B)(R) ¤·§ÝÀ§ÏÝ (A) q···§ÏÝg (C)(A) q··· (R) ¤·§ÝÀg (C)(A) ··· (R) Ý·Ë··Ìq···§ÐÝg (D)(A) h·ÏÝ (R) Ý·Ë··Ì¤·§ÝÀg (D)(A) ··· (R) Ý·Ë··Ì¤·§ÝÀ§ÐÝg 8. oÛ·· (A): h¸··Ë··h·Ì·····µoÛ·ÌoËÛ¸·m ··ÝÀ¸ÝoÛ·°¸ ·c·~·h¸····µ§ÏÝg 12. ¸··¸·¸p···Ì¤·ËoÛ·Ï·¤·Ä·Ë¸···§ÝÁ§ÏÝ ? oÛ·Ý~· (R): ·´t· Ý ·µ·À·§ Ý·Ë·Ëo ËÛ¸ ·mi · (A) ·Ï£~·¸·v· – ··q····ÄÝ·~· Ý·Ë··ÌoÛ·Ëi¤·oÛÀh·· ·oÛ··§Ý·Ë·À§ÏÝg (B) q·ÄÞ···ÄÝ – oÊÛ£~··hÝ· oÇÛzÝ (C) oÄÛ¸|ÝhÝ· – oÇÛ····¬ (A)(A) q···§ÏÝ (R) ¤··§ÏÝg (D) q·À·q··Ë¹· Ý – ···À¸oÛ (B)(A) ¤··§ÏÝ (R) q···§ÏÝg (C)(A) h·ÏÝ (R) Ý·Ë··Ìq···§ÐÝg 13. ¤·§ÝÀoÛ·Ët·Ä¸··Ë (D)(A) h·ÏÝ (R) Ý·Ë··Ì¤··§ÐÝg ··Ý·À··Ëp·oÛ¸v·¤··Ë·Ê·h·ÏÝ··zÝoÛ Ý·Ë··Ì·Ý ¸·p··§ÏÝ 9. h¸·oÛ·· (A): · Ý ··Ä·Þ·· Ý·h··· ·oÛ·oÛ·Ë··z¬Ý··§ÝÁoÛ§Ý·v··¤·oÛ··g (A) h·ÄÝ···oÛ·ÇÝ oÛ·Ý~· (R) : ··z¬Ý·¤··Ð Ý·µ··Ë··ÝoÛÝ¤··¤·· Ý· (B) ËÝ·ËÝh´oÇÛÝ oÛ·Ë·°Ë¸Ý·oÛÝ·Ë···ÀoÛ··§Ïg (C) ··´··¤·Ý·v·À·¹¤·§Ý oÇÛzÝ (D) oÛ¸·····¤···· (A)(A) ¤·§ÝÀ§ÏÝ (R) q···§ÏÝg (B)(R) ¤·§ÝÀ§ÏÝ(A) q···§ÏÝg 14. ¸·£··oÛ·Ët·Ä¸·m (C)(A) ··· (R) Ý·Ë··Ì¤·§ÝÀ§ÐÝg (A) ·°Ë···· ···µ (D)(A) ···Ý (R) Ý·Ë··Ìq···§ÐÝg (B) oÛ¸·····¤···· (C) ¸·v····Ë§Ý·· 10. h¸·oÛ·· (A): ··Ý·¸ÝoÛm ¸ ···iµ ´Ýq··´t· ·Ì¤·ËzÝ···¸¤··¸Ýv··§ÝÁ§Ý·Ë·Ëg (D) ·ÀÝ·r··· oÛ·Ý~· (R) : h¸·´Ý¸v·· ··· ÝÀ¸··Ý ·Ë ··Ç£··´Ýq··Ç£·····¸· ·Ë£···m²¤·ËzÝ··· 15. ¸·£··oÛ·Ët·Ä·oÛÝh·q·oÛÀ¸v·m ¸¤··¸Ýv·oÛ···q·§Ý·Ë·À§ÐÝg ··Ý·À··Ê····´Ýq··´t··Ì·§ÄÝ··h¸·oÛ oÇÛzÝ ·°·Än·¸·£···¤·Äm²§ÐÝ (A)(A) ¤·§ÝÀ§ÏÝ (R) ·À¤·§ÝÀ§ÏÝg (A) Ý·Ï· ÝÀt·ÀÝ§ÝÝ~· (B)(A) q···§ÏÝ(R) ¤·§ÝÀ§ÏÝg (B) h¸···ÄoÛ···· (C)(A) q···§ÏÝ (R) ·Àq···§ÏÝg (C) oÊÛ£~··À·· (D)(A) ¤·§ÝÀ§ÏÝ (R) q···§ÏÝg (D) Ý··oÛ·· D-65-10 5 Paper-II 16. Pick the odd one out. 22. Select the correct sequence of The Indians who have contributed to chapters in the Natyashastra. the dance and theatre at the world (A) Natya Mandapa, Poorva level are Ranga, Bhava, Rasa (A) Smt. Mrinalini Sarabhai (B) Natya Mandap, Poorva Ranga, (B) Ramgopal Rasa, Bhava (C) Vijaya Mehta (C) Poorva Ranga, Natya Mandapa, Bhava, Rasa (D) Rahul Gandhi (D) Rasa, Poorva Ranga, Bhava, Natyamandapa 17. A true spectator is also called as (A) Vidushaka 23. Select the correct sequence. (B) Prekshaka (A) Folk, Tribal, Classical, (C) 6DKUGD\ Contemporary (D) None of the above (B) Tribal, Folk, Classical, Contemporary 18. A Kathakali exponent who is a (C) Folk, Classical, Tribal, Padmashri Awardee Contemporary (A) Guru Kunju Kurup (D) Classical, Folk, Contemporary, Tribal (B) Kalamandalam Gopi (C) Guru Gopinath 24. Sequence correctly. (D) None of the above (A) Kamala Laxman, Kunju Kurup, Kumudini Lakhia, 19. ‘The Secret Art of the Performer’ is Vedantam Satyanarayana authored by (B) Kunju Kurup, Vedantam (A) Arthur Miller Satyanarayana, Kamala (B) Eugenio Barba Laxman, Kumudini Lakhia (C) Annie Marie (C) Vedantam Satya Narayana, . Kunju Kurup, Kamala Laxman, (D) Suresh Awasthi Kumudini Lakhia (D) Kunju Kurup, Kamala Laxman, 20. UNESCO deals with Vedantam Satyanarayana, (A) Art and Technology Kumudini Lakhia (B) Art and Music (C) World Theatre 25. Select the correct sequence. (D) Art and Culture (A) Prakrit, Sanskrit, Apabhramsha, Modern (B) Sanskrit, Prakrit, Apabhramsha, 21. Mime is the art of Modern (A) Facial expression (C) Sanskrit, Modern, Apabhramsha, (B) Rhythmic body movements Prakrit (C) Expression of the whole body (D) Apabhramsha, Prakrit, (D) Imitation of humans Sanskrit, Modern

Paper-II 6 D-65-10 16. ¸·£··oÛ·Ët·Ä¸·m 22. ··z¬Ý· ··¤·oËÛh····ÌoÛ·¤·§ÝÀo¯Û·t·Ä¸·m ·Ê· ··· ´Ýq··´t·o ËÛ c·Ë· ·Ì¸ · ·¤ ·Ý ·Ý ··Ëq· Ý·· ËÝ·Ë···Ë··Ý·À·§ÐÝ (A) ··z¬Ý··~|Ý··Ç·µ´Ýq····Ý¤· (A) ¢·À··À·Ê~··¸··À¤··Ý···iµ (B) ··z¬Ý··~|Ý··Ç·µ´Ýq·Ý¤···· (B) Ý··q··Ë··· (C) ·Ç·µ´Ýq···z¬Ý··~|Ý····Ý¤· (C) ¸·v····Ë§Ý·· (D) Ý·§ÄÝ·q··´·À (D) Ý¤··Ç·µ´Ýq······z¬Ý··~|Ý·

17. ¤·tt·Ë Ý ·µoÛoÛ·Ën··oÛ§Ý·v····§ÏÝ" (A) ¸· ÇÝ£·oÛ 23. ¤·§ÝÀo¯Û·t·Ä¸·m (B) ·°Ëc·oÛ (A) ··ËoÛv··v···À· ··¤·À·¤···¸·oÛ (C) ¤·¨Ý Ý· (D) j·Ý·Ën··Ì¤·ËoÛ·Ëiµ·§ÝÁ (B) v··v···À···ËoÛ ··¤·À·¤···¸·oÛ

(C) ··ËoÛ ··¤·À·v··v···À·¤···¸·oÛ 18. ·¢·À¤···¸··moÛoÛ·oÛ·À·°¤·Ä·oÛ··µ (A) q·ÄÞoÄ´Ûv·ÄoÄÛÞ· (D) ··¤·À···ËoÛ¤···¸·oÛv··v···À· (B) oÛ···~|Ý··q··Ë·À (C) q·ÄÞq··Ë·À··· (D) j·Ý·Ën··Ì¤·ËoÛ·Ëiµ·§ÝÁ 24. ¤·§ÝÀo¯Û·oÛ·Ï·¤··§ÏÝ" (A) oÛ··· ·c·~·o Ä´Ûv·Äo ÄÛÞ·o ÄÛ·Ä¸ Ý·À 19. ‘ ÝÀ¸¤·o¯ËÛzÝh·zµÝh·ÓÛ¸ Ý·ÝÛ·Ó·µÝ’ oÛ··Ëp·oÛ oÛ·Ï·§ÏÝ" ··¸p····Ë Ý·´··¬¤····Ý··~· (A) h·µÝ¸··Ý (B) oÄ´Ûv·Äo ÄÛÞ· ·Ë Ý·´··¬¤ ····Ý··~· (B) ·Ç¸v···Ë····µ oÛ····c·~·oÄÛ·Ä¸ Ý·À··¸p··· (C) m·À·ËÝÀ (C) ·Ë Ý·´··¬¤ ····Ý··~· oÄ´Ûv·Äo ÄÛÞ· (D) ¤·ÄËÝ ·h·¤·À oÛ····c·~·oÄÛ·Ä¸ Ý·À··¸p···

20. ·Ç·Ë¤oÛ·ËoÛ·¤·´·´·¸··¸·¸p···Ì¤·Ë¸oÛ¤·¤·Ë§ÏÝ" (D) oÄ´Ûv·Äo ÄÛÞ·oÛ ··· ·c·~· ·Ë Ý·´··¬ (A) oÛ··h·ÏÝ·°·Ï·Ë¸q·oÛÀ ¤····Ý··~·oÄÛ·Ä¸ Ý·À··¸p··· (B) oÛ··h·ÏÝ¤·´q·À· (C) ¸· ·´Ýq··Ç¸· (D) oÛ··h·ÏÝ¤·´¤oÊÛ¸· 25. ¤·§ÝÀo¯Û·t·Ä¸·m

21. ··i·moÛoÛ··§ÏÝv··Ë (A) ·°·oÊÛ·¤·´¤oÊÛ·h··°´ ·h··Ä¸·oÛ (A) ·Äp··¸··· (B) ¤·´¤oÊÛ··°·oÊÛ·h··°´ ·h··Ä¸·oÛ (B) ····Ý ··ÝÀ¸ÝoÛ§Ý··t··· (C) ¤·´¤oÊÛ·h··Ä¸·oÛh··°´ ··°·oÊÛ· (C) ·ÇËÝ ·ÝÀÝoÛ·h¸··· (D) ····oÛ·h·ÄoÛÝ~· (D) h··°´ ··°·oÊÛ·¤·´¤oÊÛ·h··Ä¸·oÛ

D-65-10 7 Paper-II PART – II DANCE 26. The artiste of India today, with a 30. Pick the odd one out. base of solid work are For dance accompaniment, the (A) Aditi Mangaldas following instruments are a must. (B) Preeti Patel (A) Mridangam

27. The difference between North and 31. Which one is not correctly matched ? South Indian Tala System is (A) Pina Bauch – Germany (A) Matra (B) Khon – Vietnam (B) System of counting Tala (C) Japan – Butoh (C) Coming on Sama (D) Margaret O’Doubler – USA (D) All of above 32. Match List – I with List – II : List – I List – II 28. Pick the odd one out. (a) Natyakala (i) Chennai (A) Nautanki Conf. (B) Baul (b) Swarnim (ii) 150 (C) Lai Haroba Mahotsav

(D) Kuravanji Natakam (c) Ravindranath (iii) New Delhi Tagore (d) APWDA (iv) Gujarat 29. The latest book on Smt. Code : Rukminidevi is written by (a)(b)(c)(d) (A) Devesh Soneji (A)(i)(iv)(iii)(ii) (B) Smt. Sharda Hoffman (B)(i)(iv)(ii)(iii) (C) Dr. Sunil Kothari (C)(ii)(iii)(iv)(i) (D) Leela Samson (D)(i)(iii)(iv)(ii) Paper-II 8 D-65-10 ··q· – II ·Ê·

26. {Ý·Ë¤·o Û··µ oËÛh ···Ý¤ ·Ëh ·v·oÛ· ··Ý·o ËÛ 30. ¸·£··oÛ·Ët·Ä¸··Ë oÛ··oÛ·Ý§ÐÝ ·Ê·¤·´q··oËÛ¸··Ëh¸····µ¤··v·§ÏÝ (A) h¸ Ý¸··´q·· Ý·¤· (A) ·Ê ´Ýq·· (B) ·°À¸··zËÝ· (B) ··´¤·ÄÝÀ (C) ·À··¤·Ï·¤·· (C) ·p···v· (D) j·Ý·Ën·¤··À (D) t·Ë|®Ý·

27. j·Ý··Ý·À···· Ý¸c·~···Ý·À·····°~···À 31. i··Ì¤·ËoÛ·Ï·¤··¤·§ÝÀ·Ë··§ÝÁ§ÏÝ ? oËÛ·Àt·¸oÛ¤·oÛ·h´·Ý§ÏÝ" (A) ·À····j ·– v··µ·À (A) ···· (B) p··Ë·– ¸··Ë···· (B) ···¸q···ÀoÛÀ·Ý¸· (C) v·····– ·ÄzÝ·Ë§Ý (C) ¤···Ýh··ËoÛÀ·Ý¸· (D) ··q··µËÝzÝh·Ë|Ý·Ý – h·Ë¸ÝoÛ· (D) j·Ý·Ën·¤··À

32. ¤·Çt·À – I oÛ·¤·Çt·À – II ¤·Ë¸····oÛÀ¸v·m : 28. ¸·£··oÛ·Ët·Ä¸··Ë ¤·Çt·À – I ¤·Çt·À – II (A) ··Ïz´ÝoÛÀ (a) ··zÝoÛ·· (i) t·Ë··iµ (B) ··j· oÛ·ÓÛÝ¤· (C) ··iµ§ÝÝ·Ë·· (b) ¤·º~···§Ý·Ë¤·· (ii) 150 (D) oÄÛÝ·´v·À··zÝoÛ·¬ (c) Ý·ÀÝ···zÏÝq··ËÝ (iii) ·iµ¸ Ý·À (d) m·À|Ý·Ç|ÝÀm (iv) q·Äv·Ý··

29. ¢·À··À Þ¼n·~·À ËÝ·À ·Ý¸ ·p·À q·iµ ··À··· oÇÛzÝ : ·Ä¤·oÛoËÛ·Ëp·oÛ§ÏÝ (a)(b)(c)(d) (A) ËÝ·Ë ·¤··Ë·Ëv·À (A)(i)(iv)(iii)(ii) (B) ¢·À··À ··Ý Ý·§Ý·ÓÛ·Ë· (B)(i)(iv)(ii)(iii) (C) |Ý·Ó¤·Ä·À·oÛ·Ë{Ý·ÝÀ (C)(ii)(iii)(iv)(i) (D) ·À··¤·Ï·¤·· (D)(i)(iii)(iv)(ii) D-65-10 9 Paper-II 33. Match List – I with List – II : 35. Assertion (A): Daily vigorous List – I List – II practice of Angika Abhinaya for

(a) Muthuswami (i) Vaishnava at least 2 hours is a must for a Dikshitar jana to dancer.

(b) Narsih Mehta (ii) Navagraha Reason (R): With practice the Kritis dancer develops the rhythm and (c) Anjali Merh (iii) Thumak musical sense. Chalat Code : (d) Tulsidas (iv) Chandra- mauliswara (A)(A) is true (R) is false.

Kuravanji (B)(A) and (R) both are true. Code : (C)(A) and (R) both are false. (a)(b)(c)(d) (D)(A) is false (R) is true. (A)(i)(ii)(iii)(iv)

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

(C)(ii)(i)(iii)(iv) 36. Which one is the correct sequence ?

(D)(ii)(i)(iv)(iii) (A) Drasti, Greeva, Kati, Jhanu

(B) Drasti, Greeva, Jhanu, Kati

34. Assertion (A): Many choreographers (C) Drasti, Jhanu, Kati, Greeva are using multiple forms in their dance creations. (D) Greeva, Drasti, Jhanu, Kati

Reason (R): They are interested in showing off their versatility. 37. Choose the odd one. Code : (A) Amobi Singh (A)(A) is true (R) is false. (B) 0QL0GKDYD&KNNL\U (B)(A) is false (R) is true. (C) M.S. Subbalaxmi (C)(A) and (R) both are true.

(D)(A) and (R) both are false. (D) Shovana Narayan Paper-II 10 D-65-10 33. ¤·Çt·À – I oÛ·Ë ¤·Çt·À – II oËÛ¤ ···¤ ·Ä·Ë¸·· 35. oÛ·· (A): moÛ··µoÛoËÛ¸·m·°¸·¸ Ý·oÛ· oÛÀ¸v·m : ¤·ËoÛ · Ý·Ër ·´zËoÛ ·h ·´¸q·oÛh ¸···oÛ · ¤·Çt·À – I ¤·Çt·À – II oÛ{Ý·ËÝh··¤·oÛÝ··h¸····µ·h·· ·oÛ §Ý·Ë··§ÏÝg (a) ·Ä·Ä¤···À (i) ·Ï£~··v····Ë ¸ Ýc·À··Ý oÛ·Ý~· (R): h··¤·oËÛ¤·····µoÛ·Ì·· ······¤·´q·À····oÛ·¸·oÛ·¤·§Ý·Ë··§ÏÝ (b) ·Ý¹¤·§Ý·Ë§·· (ii) ··q·°§ÝoÊÛ¸· oÇÛzÝ : (c) h´v··À·Ë¬Ý§Ý (iii) {ÄÝ·oÛt···

(d) ·Ä·¤·À Ý·¤· (iv) t·´Ý··Ï¸· ·Ý (A)(A) ¤··§ÏÝ (R) q···§ÏÝg oÄÛÝ·´v·À (B)(A) h·ÏÝ (R) Ý·Ë··Ì¤··§ÐÝg oÇÛzÝ : (C)(A) h·ÏÝ (R) Ý·Ë··Ìq···§ÐÝg (a)(b)(c)(d) (D)(A) q···§ÏÝ (R) ¤··§ÏÝg (A)(i)(ii)(iii)(iv)

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

(C)(ii)(i)(iii)(iv) 36. ¤·§ÝÀh·Äo¯Û·oÛ·Ï·¤··§ÏÝ ? (D)(ii)(i)(iv)(iii) (A) Ý¼£zÝq·°À··oÛ¸zÝv···Ä

(B) Ý¼£zÝq·°À··v···ÄoÛ¸zÝ 34. oÛ·· (A): h·ËoÛoÛ·Ë¸Ý··Ëq·°·ÛÝh··Ë·Ê· oÊÛ¸···Ìo ËÛ¤ ·Êv·· ·Ì ¸·¸·· ·Ï¸···Ìo Û· (C) Ý¼£zÝv···ÄoÛ¸zÝq·°À·· j···Ëq·oÛÝ·Ë§ÐÝg (D) q·°À··Ý¼£zÝv···ÄoÛ¸zÝ oÛ·Ý~· (R): ·Ëh ··À ·§ÄÝ·Äp·À ·°¸···o ËÛ ·° Ý ·µ·oËÛituÄÜoÛ§Ý·Ë·Ë§ÐÝg

oÇÛzÝ : 37. ¸·£··oÛ·Ët·Ä¸··Ë

(A)(A) ¤··§ÏÝ (R) q···§ÏÝg (A) h··Ë·À¹¤·§Ý

(B)(A) q···§ÏÝ (R) ¤··§ÏÝg (B) ··¸~·····t··¼noÛ··Ý

(C)(A) h·ÏÝ (R) Ý·Ë··Ì¤··§ÐÝg (C) m·m¤·¤·Ä··c·À

(D)(A) h·ÏÝ (R) Ý·Ë··Ìq···§ÐÝg (D) ··Ë·····Ý··~·

D-65-10 11 Paper-II 38. Assertion (A): Tradition has to 41. 0LQQDNNXLVWKHKDU\DRI adjust itself to changing times (A) &KX and needs. (B) Bhavai Reason (R): Innovations are (C) Kathakali essential for the sustenance of art. (D) Kuchipudi (A) Both (A) and (R) are false.

(B)(A) is true (R) is false. 42. 3DNKZDMLVDQLQVWUXPHQWXVHGLQ

(B) Khayal (D)(A) is false (R) is true. (C) Sankeertan

(D) None of the above 39. Choose the odd one.

(A) Deepchandi 43. Rouf is a folk dance of

(B) Tilwada (A) Himachal Pradesh

(B) Kashmir (C) At.a (C) Madhya Pradesh (D) Chanda (D) Rajasthan

40. PÌUYDUDQJDLVGHVFULEHGLQ 44. Asamyuta Hastas mentioned in Abhinaya Darpana (A) Abhinaya Darpana (A) 27 (B) Natya Darpana (B) 24 (C) Natya Shastra (C) 30

(D) %KYD3UDND (D) 28 Paper-II 12 D-65-10 38. h¸·oÛ·· (A): ·Ý·Ý·o Û·Ë · Ý··Ë§ ÄÝm 41. ¸···noÛ¸oÛ¤·oÛ·h·§Ý··µ§ÏÝ" ¤··· ···h ·· ·oÛ··h·Ìo ËÛ¤ ··· (A) uÜ·kÛ ¤···´v·¤·¤··¸··oÛÝ··t··¸§Ýmg (B) ···iµ ·oµÛ (R) : oÛ··o Û·Ë v·À¸··Ý p··Ëo ËÛ¸ ·m (C) oÛ·oÛ·À ···°··µ·h¸····µ§ÏÝg (D) oÄÛ¸t··Ä|®ÝÀ (A)(A) ··· (R) Ý·Ë··Ìq···§ÐÝg

(B)(A) ¤·§ÝÀ§ÏÝ (R) q···§ÏÝg 42. ·p···v····´·oÛ··°··Ëq·¸oÛ¤··Ì§Ý·Ë··§ÏÝ"

(C)(A) ··· (R) Ý·Ë··Ì¤·§ÝÀ§ÐÝg (A) ·±Ä· Ý (B) p···· (D)(A) q···§ÏÝ (R) ¤·§ÝÀ§ÏÝg (C) ¤·´oÛÀ·µ·

(D) j·Ý·Ën··Ì¤·Ë¸oÛ¤·À·Ì·§ÝÁ 39. ¸·£··oÛ·Ët·Ä¸·m

(A) ÝÀ·t·~|ÝÀ 43. Ý·ÓÛ¸··¸·¸p···Ì¤·Ë¸oÛ¤··° ËÝ ·oÛ···ËoÛ·Ê· §ÏÝ" (B) ¸····|®Ý· (A) ¸§Ý··t···° ËÝ · (C) hzÝ· (B) oÛ· ·ÀÝ (D) u´Ü Ý (C) ···° ËÝ ·

(D) Ý·v·¤···

40. ·Ç·µ´Ýq·oÛ··~·µ·¸oÛ··q···§ÏÝ 44. h¸··· Ý·µ~··Ì·º~··h¤··Ä·§Ý¤· (A) h¸··· Ý·µ~· (A) 27 (B) ··z¬Ý· Ý·µ~· (B) 24 (C) ··z¬Ý· ··¤· (C) 30

(D) ····°oÛ· · (D) 28

D-65-10 13 Paper-II 45. Assertion (A): The art of music 48. Assertion (A): Natya Shastra is a and dance attained high status full fledged codified system of during the period of Epics. Performing Arts. Reason (R): Music and Dance Reason (R): Vedas & Puranas was an essential part of their gave only stray references but no social life. codified system of Arts. (A)(A) is true (R) is false. Code : (B)(R) is true (A) is false. (A) Both (A) & (R) are true. (C)(A) and (R) are true. (B)(A) is true (R) is false. (D) Both (A) and (R) are false. (C) Both (A) and (R) are false.

(D)(A) is false (R) is true. 46. Rupak Taal in Hindustani music

corresponds to Karnatak Tala – 49. “Tol.SSYDNXWWX´LVDSXSSHWWUDGLWLRQ (A) Roopakam of

(B) 0LVUD&KSX (A) Rajasthan

(D) None of the above (C) Karnataka

(D) Tripura

47. Vigorous Movements are found in the Vritti 50. Proshita Bhartrika is a (A) %K UDWL (A) Vritti (B) Kaisiki (B) 6KDWK1\DND (C) UDEKDt.ti. (C) Uparoopaka (D) Tandava (D) 1\LN Paper-II 14 D-65-10 45. h¸·oÛ·· (A): ·§Ý·oÛ···ÌoËÛoÛ···Ì¤·´q·À· 48. h¸·oÛ·· (A): ··z¬Ý· ··¤· ´Ýq··´t·À· oÛ··h·Ìo ÛÀ ·Ç~·µ¸·oÛ¸¤··¤ ·Ç··Ý ·Ý¸· ····Ê·oÛ··m²h··ËjoÛ£·µ·Ý·Ág §ÏÝg

·oµÛ (R) : ¤·´q·À· ··· ·Ê·oÛ··m² ·oÛ··À· oÛ·Ý~· (R): ·Ë Ý·Ì····ÄÝ·~··Ì·ÌoÛ··h·ÌoËÛ ¤····¸v·oÛv·À··oÛÀh¸····µh´q··Ág ¸uÜzÝ·ÄzÝ¤ ·´ Ý·µ ¸···Ë §ÐÝ ·Ý·Ä i··Ì oÛ··h·Ìo ÛÀo Û·Ëiµ¤ ·Ç··Ý ·Ý¸· ·§ÝÁ (A)(A) ¤·§ÝÀ§ÏÝ (R) q···§ÏÝg ¸···Àg

oÇÛzÝ : (B)(R) ¤·§ÝÀ§ÏÝ (A) q···§ÏÝg (A)(A) ··· (R) Ý·Ë··Ì¤·§ÝÀ§ÐÝg (C)(A) h·ÏÝ (R) Ý·Ë··Ì¤·§ÝÀ§ÐÝg (B)(A) ¤·§ÝÀ§ÏÝ (R) q···§ÏÝg (D)(A) h·ÏÝ (R) Ý·Ë··Ìq···§ÐÝg (C)(A) ··· (R) Ý·Ë··Ìq···§ÐÝg

(D)(A) q···§ÏÝ (R) ¤·§ÝÀ§ÏÝg 46. ¹§Ý ÄÝ¤···À¤ ·´q·À· ·Ì ß·oÛ ···oÛ ··µzÝoÛo ËÛ ¸oÛ¤····¤·Ë·Ë·p····§ÏÝ" 49. “··Ë····oÄÛ·Ä” ··´Ý·¸ÝoÛ··ËzÝ§ÏÝ (A) ß·oÛ· (A) Ý·v·¤··· (B) ¸·¢·t···Ç (B) oËÛÝ· (C) p·~|Ýt···Ç (C) oÛ··µzÝoÛ (D) j·Ý·Ën··Ì¤·Ë¸oÛ¤·À¤·Ë·§ÝÁ (D) ¸··ÄÝ·

47. i··Ì¤·Ë¸oÛ¤··Ê¸··Ì·°··h´q·¤·´t····§Ý·Ë··§ÏÝ" 50. ·°·Ë¸£···º·oÛ·n··§ÏÝ"

(A) ··Ý·À (A) ·Ê¸·

(B) oÏÛ¸¤·¸oÛ (B) ·{Ý···oÛ

(D) ··~|Ý· (D) ··¸·oÛ· D-65-10 15 Paper-II PART – III DRAMA/THEATRE

26. Match items in List – I with List – II : 29. The correct order of the five stages List – I List – II of Arthaprakriti is (a) Bertolt Brecht (i) India (A) %LQGX3UDNDUL3DWDN .U\D Bij (b) Arthur Miller (ii) Russia (c) Stanislavsky (iii) America (B) . U\D %LM 3UDNDUL 3DWDN Bindu (d) Ebrahim Alkazi (iv) Germany (C) Bij, Karya, Prakari, Bindu, Code : 3DWND (a)(b)(c)(d) (D) %LM %LQGX 3DWND 3UDNDUL (A)(i)(ii)(iii)(iv) Karya (B)(iv)(iii)(ii)(i) (C)(ii)(iv)(i)(iii) 30. ‘National Centre for Performing Arts’ is situated at (D)(iii)(i)(iv)(ii) (A) Kolkatta (B) Bangaluru (C) Mumbai (D) New Delhi 27. Assertion (A): Modern Theatre Director must be familiar with Art and Craft. 31. Match items in List – I with List – II : Reason (R): A Director should List – I List – II have the knowledge of stage images and compositions. (a) Adya (i) Gujarat Rangacharya Code : (b) G. Shankara (ii) Karnataka (A)(A) is true (R) is false. Pillai (B)(A) is false (R) is true. (c) 9LMD\0HKW (iii) Kerala (C)(A) is true (R) is true. (d) Chandravadan (iv) Maharashtra (D)(A) is false (R) is false. 0HKW Code : 28. Indicate the odd one. (a)(b)(c)(d) (A) Rhythm (A)(iii)(ii)(i)(iv) (B) Movement (B)(ii)(iii)(iv)(i) (C) Energy (C)(i)(iv)(ii)(iii) (D) Choreography (D)(iv)(i)(iii)(ii) Paper-II 16 D-65-10 ··q· – III ··zÝoÛ/´Ýq··´t·

26. ¤·Çt·À – I oÛÀ· Ý·ÌoÛ·Ë¤·Çt·À – II oÛÀ· Ý·Ì¤·Ë 29. h·µ·°oÊÛ¸·o ÛÀ ··²t·h ·¤··h·Ì oÛ·¤ ·§ÝÀo ¯Û· ¤·Ä·Ë¸··oÛÀ¸v·m n··§ÏÝ" ¤·Çt·À – I ¤·Çt·À – II (A) ¸· ÄÝ·°oÛÝÀ···oÛ·oÛ··µ·Àv· (a) ·zÝ·ÍzÝ·¯Ëp· (i) ··Ý· (B) oÛ··µ·Àv··°oÛÝÀ···oÛ·¸· ÄÝ (b) h·µÝ¸··Ý (ii) ß¤· (C) ·Àv·oÛ··µ·°oÛÝÀ¸· ÄÝ···oÛ· (c) ¤··¸·¤···¤oÛÀ (iii) h·Ë¸ÝoÛ· (D) ·Àv·¸· ÄÝ···oÛ··°oÛÝÀoÛ··µ (d) i·¯·¸§Ý·hoÛ·v·À (iv) v··µ·À oÇÛzÝ : (a)(b)(c)(d) 30. ‘·Ë ···¤ ·ÌzÝÝ Û·ÓÝ ·ÝÛ·Ó»·q·h ·zµ¬Ý¤·’ oÛ§Ý·² (A)(i)(ii)(iii)(iv) h·¼¤··§ÏÝ" (B)(iv)(iii)(ii)(i) (A) oÛ·Ë·oÛ··· (B) ·Ìq···ÄÞ

(C)(ii)(iv)(i)(iii) (C) ·Ä´·iµ (D) ·iµ¸ Ý·À (D)(iii)(i)(iv)(ii)

27. h¸·oÛ·· (A): h··Ä¸·oÛ´Ýq··´t·¸· ÍÝ ·oÛoËÛ 31. ¤·Çt·À – I ···¤·Çt·À – II oÛÀ· Ý·ÌoÛ·Ë¤·Ä·Ë¸·· ¸·mo Û·· ··· Ý¤·oÛ·ÝÀoÛ À¤ ·Ä¸·w··· oÛÀ¸v·m h·· ·oÛ§ÏÝg ¤·Çt·À – I ¤·Çt·À – II oÛ·Ý~· (R): moÛ¸· ÍÝ ·oÛoÛ·Ë‘¤zËÝv·i·Ëv·Ëv· ···o´Û··Ë¸v· ·´¤·’oÛ·w···§Ý·Ë··t··¸§Ýmg (a) h·´Ýq··t···µ (i) q·Äv·Ý·· oÇÛzÝ (b) v·À ·´oÛÝ¸··iµ (ii) oÛ··µzÝoÛ

(A)(A) ¤·§ÝÀ§ÏÝ (R) q···§ÏÝg (c) ¸·v····Ë§Ý·· (iii) oËÛÝ· (B)(A) q···§ÏÝ (R) ¤·§ÝÀ§ÏÝg (d) t·´Ý· Ý··Ë§Ý·· (iv) ·§Ý·Ý·£z³Ý (C)(A) ¤·§ÝÀ§ÏÝ (R) ¤·§ÝÀ§ÏÝg oÇÛzÝ : (D)(A) q···§ÏÝ (R) q···§ÏÝg (a)(b)(c)(d)

28. ¸·£··oÛ·Ëi´¸q··oÛÀ¸v·m (A)(iii)(ii)(i)(iv) (A) ¸Ý ¬Ý· (B)(ii)(iii)(iv)(i) (B) ·Ç··ÌzÝ (C) m·v·Â (C)(i)(iv)(ii)(iii) (D) oÛ·Ë¸Ý··Ëq·°·ÛÀ (D)(iv)(i)(iii)(ii) D-65-10 17 Paper-II 32. Assertion (A): The Sanskrit 35. The Sanskrit Theatre is survived in Rupakas are classified on the the traditional theatre form of basis of Vastu, Neta and Rasa. (A) Assam (B) Kerala (C) Rajasthan (D) Karnataka Reason (R): 1WDND DQG Prakaran. a have same kind of Vastu but different kinds of Rasa. 36. Match items in List – I with List – II :

Code : List – I List – II

(A)(A) is true (R) is true. (a) Ibsen (i) Three sisters

(B)(A) is false (R) is true. (b) Tagore (ii) Waiting for lefty (c) Chekhov (iii) Ghosts (C)(A) is true (R) is false. (d) Odets (iv) The Kingdom of (D)(A) is false (R) is false. cards Code : 33. Identify the odd one. (a)(b)(c)(d) (A) Artaud – Theatre of Cruelty (A)(ii)(iii)(iv)(i) (B) Meyerhold – Biomechanics (B)(iv)(ii)(iii)(i)

(D) Grotowski – Environmental (D)(iii)(iv)(i)(ii) Theatre 37. Assertion (A): Actors should know the technical aspects of 34. Which sequence is correct ? play production. (A) Blocking, Plotting, Play Reason (R): Theatre can not Reading, Composition exist without set, light, costume and make up. (B) Play Reading, Plotting, Blocking, Composition Code : (A)(A) is false (R) is true. (C) Composition, Play Reading, Plotting, Blocking (B)(A) is true (R) is false.

(D) Blocking, Plotting, Composition, (C)(A) is false (R) is false. Play Reading. (D)(A) is true (R) is true. Paper-II 18 D-65-10 32. h¸·oÛ·· (A): ¤·´¤oÊÛ· ß·oÛ·ÌoÛ ·Ë ··¤·Ä 35. ¸··¸·¸p·· ·Ì¤ ·Ë ¸oÛ¤·oËÛ ··´Ý·¸ÝoÛ ´Ýq··´t· ·Ë·····Ý¤·oËÛh···Ý·Ý·q·ÂoÊÛ·¸oÛ·· ¤·ß··Ì¤·´¤oÊÛ·´Ýq··´t·v·À¸··§ÏÝ" v····§ÏÝg (A) h·¤··· (B) oËÛÝ· (C) Ý·v·¤··· (D) oÛ··µzÝoÛ oÛ·Ý~· (R): ··zÝoÛ ··· ·°oÛÝ~· ·Ì moÛ§ ÝÀ ·°oÛ·ÝoÛ···¤·Ä§Ý·Ë··§ÏÝ·Ý¸···°oÛ·ÝoÛ· Ý¤·§Ý·Ë··§ÏÝg 36. ¤·Çt·À – I ···¤·Çt·À – II oÛÀ· Ý·ÌoÛ·Ë¤·Ä·Ë¸·· oÛÀ¸v·m oÇÛzÝ : ¤·Çt·À – I ¤·Çt·À – II (A)(A) ¤·§ÝÀ§ÏÝ (R) ¤·§ÝÀ§ÏÝg (a) i¤·· (i) ·±À¸¤·¤zÝ¤·µ

(B)(A) q···§ÏÝ (R) ¤·§ÝÀ§ÏÝg (b) zÏÝq··ËÝ (ii) ·Ë¹zÝq·Û·ÓÝ·ËzÝÀ (c) t·Ëp··Ë· (iii) r··Ë¤z¬Ý¤· (C)(A) ¤·§ÝÀ§ÏÝ (R) q···§ÏÝg (d) h·Ë|ËÝz¬Ý¤· (iv) ¸ Ý¹oÛq·|Ý·h·ÓÛoÛ·|µ¬Ý¤· (D)(A) q···§ÏÝ (R) q···§ÏÝg oÇÛzÝ :

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

33. ¸·£··oÛ·Ë·§Ýt··¸·m (A)(ii)(iii)(iv)(i) (B)(iv)(ii)(iii)(i) (A) h·zÝ·Ñ|Ý– ¸··ËzÝÝh·ÓÛo¯ÄÛmzÝÀ (C)(i)(ii)(iv)(iii) (B) – ···Ý§Ý·Ë|Ý ····Ë¸·oËÛ¸·n¤· (D)(iii)(iv)(i)(ii) (C) ¤··¸·¤···¤oÛÀ– ·Ë·|ÝmË½nzÝq· 37. h¸·oÛ·· (A): h¸··Ë··h·ÌoÛ ·Ë ··z¬Ý· (D) q·°·Ë··Ë·¤oÛÀ– i··iÝ·ËzÝ·¸··ËzÝ ·°¤·Ä¸·oËÛ·oÛ·ÀoÛÀ·§Ý·Äh·ÌoÛ·v···oÛ·Ý §Ý·Ë··t··¸§Ýmg oÛ·Ý~· (R) : ¤·ËzÝ·°oÛ· ··Ë ··Ç£·····´Ýq· 34. oÛ·Ï·¤··o¯Û·¤·§ÝÀ§ÏÝ ? ·Ç£··oËÛ¸···´Ýq··´t·oÛ·h¼¤···§ÝÁ§Ý·Ë (A) ··Ó¹oÛq···Ó¹zÝq··ËÝÀ¹|Ýq·o´Û··Ë¸v· ·· ¤·oÛ··g oÇÛzÝ : (B) ·ËÝÀ¹|Ýq···Ó¹zÝq···Ó¹oÛq·o´Û··Ë¸v· ·· (A)(A) q···§ÏÝ (R) ¤·§ÝÀ§ÏÝg (C) o´Û··Ë¸v· ···ËÝÀ¹|Ýq···Ó¹zÝq···Ó¹oÛq· (B)(A) ¤·§ÝÀ§ÏÝ (R) q···§ÏÝg

(D) ··Ó¹oÛq· ··Ó¹zÝq·o ´Û··Ë¸v· ·· (C)(A) q···§ÏÝ (R) q···§ÏÝg ·ËÝÀ¹|Ýq· (D)(A) ¤·§ÝÀ§ÏÝ (R) ¤·§ÝÀ§ÏÝg

D-65-10 19 Paper-II 38. Identify the odd one. 42. Assertion (A): Mattavarn. i was (A) Lawani – Maharashtra considered to be an extended (B) Bhavai – Gujarat acting area in Sanskrit Theatre. (C) Jatra – West Bengal Reason (R): Mattavarni was a (D) $QNLD1W – Bihar decorative piece.

39. Identify the correct sequence. Code : (A) Macbeth, Ghosts, Waiting for (A)(A) is false (R) is true. Godot, Death of a Salesman (B) Ghosts, Macbeth, Death of a (B)(A) is true (R) is false. Salesman, Waiting for Godot (C)(A) is true (R) is true. (C) Death of a Salesman, Ghosts, Waiting for Godot, Macbeth (D)(A) is false (R) is false. (D) Macbeth, Ghosts, Death of a Salesman, Waiting for Godot 43. Which one of the following pairs is 40. ‘Forum Theatre’ is the important not correctly matched ? work of (A) Prasanna – Samudaya (A) Grotowski (B) Peter Brook (B) Muthuswamy – Koothu-P- (C) Eugenio Barba Pattarai (D) Augusto Boal (C) Mrinalini – Mahabharata Sarabhai 41. Match the items in List – I with List – II : (D) K.N. Panickar – Abhinaya List – I List – II (a) Charandas (i) Shanta Chor Gandhi 44. Identify the correct sequence in (b) Jasma Odan (ii) B.V. Karanth %KVD¶V3OD\V (c) Raja (iii) Habib Tanvir Oudipous (A) 1QGL 6XWUDGKU 1WDN (d) Barnam Vana (iv) Sombhu %KDUDWD9N\D Mitra (B) Code : 6XWUDGK U 1 QGL 1 WDN (a)(b)(c)(d) %KDUDWD9 N\D (A)(iii)(i)(iv)(ii) (C) %KDUDWD9 N\D 1QGL (B)(i)(ii)(iii)(iv) 6XWUDGKU1WDND (C)(iv)(iii)(ii)(i) (D) 1WDND%KDUDWD9N\D1QGL (D)(iii)(ii)(i)(iv) 6XWUDGKU Paper-II 20 D-65-10 38. ¸·£··oÛ·Ë·§Ýt··¸·m 42. h¸·oÛ·· (A): ¤·´¤oÊÛ· ´Ýq··´t· ·Ì ···~·Â (A) ···~·À – ·§Ý·Ý·£z³Ý oÛ·ËmoÛ¸·¤··¸Ý·h¸···c·Ë·····v···· (B) ···iµ – q·Äv·Ý·· ··g (C) v···· – ·¼ t···´q··· (D) h´¸oÛ····zÝ – ¸·§Ý·Ý oÛ·Ý~· (R) : ···~·ÂmoÛ¤·v···zÝÀ··q···g

oÇÛzÝ : 39. ¤·§ÝÀo¯Û··§Ýt··¸·m (A) ·ÏoÛ·Ë·r··Ë¤z¬Ý¤··Ë¹zÝq·Û·ÓÝq··Ë Ý·Ë|ËÝ· (A)(A) q···§ÏÝ (R) ¤·§ÝÀ§ÏÝg h·ÓÛm¤·Ë¤··Ï· (B) r··Ë¤z¬Ý¤··ÏoÛ·Ë·|ËÝ·h·ÓÛm¤·Ë¤··Ï· (B)(A) ¤·§ÝÀ§ÏÝ (R) q···§ÏÝg ·Ë¹zÝq·Û·ÓÝq··Ë Ý·Ë (C) |ËÝ·h ·ÓÛm ¤ ·Ë¤··Ï·r ··Ë¤z¬Ý¤· ·Ë¹zÝq· (C)(A) ¤·§ÝÀ§ÏÝ (R) ¤·§ÝÀ§ÏÝg Û·ÓÝq··Ë Ý·Ë·ÏoÛ·Ë· (D)(A) q···§Ï (R) q···§ÏÝg (D) ·ÏoÛ·Ë·r··Ë¤z¬Ý¤·|ËÝ·h·ÓÛm¤·Ë¤··Ï· ·Ë¹zÝq·Û·ÓÝq··Ë Ý·Ë

40. ‘Û·ËÝ·¸·mzÝÝ’ i··Ì¤·Ë¸oÛ¤·oÛ··§Ý··Ç~·µoÛ··µ 43. ¸··¸·¸p···Ì¤·ËoÛ·Ï·¤···Äq·¤·Ä·Ë¸···§ÝÁ §ÏÝ" §ÏÝ? (A) q·°·Ë··Ë·¤oÛÀ (B) ·ÀzÝÝ·¯ÄoÛ (A) ·°¤··· – ¤··Ä Ý·· (C) ·Ç¸v···Ë····µ (B) ·Ä·Ä¤···À – oÄÛ·Ä···Ý·i (D) hq·¤zÝ·Ë··Ëh·Ó· (C) ·Ê~··¸··À¤··Ý···iµ – ·§Ý···Ý· 41. ¤·Çt·À – I ···¤·Çt·À – II oÛÀ· Ý·ÌoÛ·Ë¤·Ä·Ë¸·· oÛÀ¸v·m (D) oËÛm··¼~~·oÛÝ – h¸··· ¤·Çt·À – I ¤·Çt·À – II (a) t·Ý~· Ý·¤·t··ËÝ (i) ··´··q··´·À (b) v·¤··h·Ë|Ý·· (ii) ·À·ÀoÛ·´Ý· 44. ··¤·oËÛ··zÝoÛ·Ì·Ì¸··¸·¸p···Ì¤·ËoÛ·Ï·¤·· (c) Ý·v··h·Ë¸|Ý·¤· (iii) §Ý·À····ÀÝ o¯Û·¤·§ÝÀ§ÏÝ" (d) ·Ý···· (iv) ·´·Ç¸·· oÇÛzÝ : (A) ··´ ÝÀ¤·Ç···Ý··zÝoÛ·Ý···n· (a)(b)(c)(d) (B) ¤·Ç···Ý··´ ÝÀ··zÝoÛ·Ý···n· (A)(iii)(i)(iv)(ii) (B)(i)(ii)(iii)(iv) (C) ·Ý···n···´ ÝÀ¤·Ç···Ý··zÝoÛ (C)(iv)(iii)(ii)(i) (D)(iii)(ii)(i)(iv) (D) ··zÝoÛ·Ý···n···´ ÝÀ¤·Ç···Ý

D-65-10 21 Paper-II 45. Bertolt Brecht developed his theatre 48. Identify the odd one. of alienation by the inspiration of The component of the play (A) %OL'DQFH (B) Kathakali production is

46. Match items in List – I with List – II : (C) Audience List – I List – II (D) Critic (a) UDPEKD (i) Mukha Bija (b) Yatna + Bindu (ii) Vimars.a 49. Identify the correct sequence. (c) 3UDSW\V (iii) Pratimukha 3DWDN (A) %KV $VKZDJKRVK (d) 1L\DWSWL (iv) Garbha Prakari Vishakhdatt, S. udraka Code : (B) $VKZDJKRVK %KV 6XGUDND (a)(b)(c)(d) Vishakhdatta (A)(ii)(iv)(i)(iii) (B)(iii)(ii)(iv)(i) (C) S. XGUDND %KV $VKZDJKRVK (C)(i)(iii)(iv)(ii) Vishakhdatta (D)(iv)(i)(ii)(iii) (D) Vishakhdatta, Ashwaghosh, 47. Assertion (A): According to %K V6XGUDND Abhinavgupta, Rasa stands for Aesthetic object and not for experience. 50. ‘Chakravyuha’ a modern Indian play Reason (R): Because according to Bharata, Rasa lies in the work was written by of Drama. (A) Mohan Rakesh Code : (A)(A) is true (R) is true. (B) Girish Karnard

(B)(A) is false (R) is true. (C) Ratan Thiyam (C)(A) is true (R) is false. (D) Vijay Tendulkar (D)(A) is false (R) is false. Paper-II 22 D-65-10 48. ¸·£··oÛ·Ë·§Ýt··¸·m 45. ·zÝ·ÍzÝ·¯Ëp··Ëh··Ë¸··ËzÝÝh·ÓÛm¸·m·Ë ·· oÛ·Ë¸oÛ¤·¤·Ë·°Ë¸Ý·§Ý·ËoÛÝ¸·oÛ¸¤··¸oÛ··" ··zÝoÛ¸···µ~·oÛ·r·zÝoÛ§ÏÝ (A) ···À·Ê· (B) oÛ·oÛ·À (A) ·Ëp·oÛ (C) t·À·Àh·Ó·ËÝ· (B) h¸··Ë·· (D) uÜ·kÛ·Ê·

(C) Ý ·µoÛ 46. ¤·Çt·À – I ···¤·Çt·À – II oÛÀ· Ý·ÌoÛ·Ë¤·Ä·Ë¸·· oÛÀ¸v·m (D) ¤·····Ët·oÛ ¤·Çt·À – I ¤·Çt·À – II (a) h·´Ý· + ·Àv· (i) ·Äp· (b) ·· + ¹· ÄÝ (ii) ¸·· ·µ 49. ¤·§Ào¯Û·oÛ·Ë·§Ýt··¸·m (c) ·°·· ·· + ···oÛ· (iii) ·°¸··Äp·

(d) ¸····¼· + ·°oÛÝÀ (iv) q··µ (A) ··¤·h ·r··Ë£·¸· ··p· Ý· ·ÇÝoÛ oÇÛzÝ : (a)(b)(c)(d) (B) h ·r··Ë£···¤· ·ÇÝoÛ¸· ··p· Ý· (A)(ii)(iv)(i)(iii) (C) ·ÇÝoÛ··¤·h ·r··Ë£·¸· ··p· Ý· (B)(iii)(ii)(iv)(i) (C)(i)(iii)(iv)(ii) (D) ¸· ··p· Ý·h ·r··Ë£···¤· ·ÇÝoÛ (D)(iv)(i)(ii)(iii)

47. h¸·oÛ·· (A): h¸···q·Ä·oËÛh·Ä¤··ÝÝ¤· oÛ··oÊÛ¸·oÛ··°¸·¸·¸··oÛÝ··§ÏÝh·Ä·· 50. ‘t·o¯Û·Ç§Ý’, v··ËmoÛh··Ä¸·oÛ··Ý·À···zÝoÛ§ÏÝ oÛ··§ÝÁg oÛ···zÝoÛoÛ·ÝoÛ·Ï·§ÏÝ" oÛ·Ý~· (R) : n··Ì¸oÛ ·Ý· oËÛh ·Ä¤··Ý Ý¤· ··z¬Ý·oÊÛ¸··Ìh·º·¸§Ý·§Ý·Ë··§ÏÝg (A) ··Ë§Ý·Ý·oËÛ · oÇÛzÝ (B) ¸q·ÝÀ ·oÛ··µ|Ý (A)(A) ¤·§ÝÀ§ÏÝ (R) ¤·§ÝÀ§ÏÝg (B)(A) q···§Ï (R) ¤·§ÝÀ§ÏÝg (C) Ý··¸··· (C)(A) ¤·§ÝÀ§ÏÝ (R) q···§ÏÝg (D)(A) q···§ÏÝ (R) q···§ÏÝg (D) ¸·v···Ì|ÄÝ·oÛÝ D-65-10 23 Paper-II

Space For Rough Work

D-65-10 3 Paper-II