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 6 PAPER—II Time : 1¼ hours]PERFORMING ART [Maximum Marks : 100 Number of Pages in this Booklet : 32 Number of Questions in this Booklet : 50 Instructions for the Candidates ÂÚUèÿææçÍüØô¢ ·ð¤ çÜ° çÙÎðüàæ 1. Write your roll number in the space provided on the top of this 1. ÂãÜðU ÂëDU ·ð¤ ª¤ÂÚU çÙØÌ SÍæÙ ÂÚU ¥ÂÙæ ÚUôÜU ِ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—6506 1 P.T.O. DANCE / DRAMA / THEATRE PAPER—II SPECIAL INSTRUCTIONS 1. Candidates are required to answer all the 25 questions in Part-I, which are compulsory. They should also select any one from Part-II and Part-III and answer all the 25 questions of that Part only. Each question carries two marks. 2. Candidates are required to mark clearly on the OMR Answer Sheet, the Part Number which they have selected.

PART—I

Common to Dance and Drama / Theatre

1. The period of Natyashastra is generall placed between : (A) 500 BC to 300 BC (B) 200 BC to 200 AD (C) 300 AD to 500 AD (D) 1000 BC to 800 BC

2. Silappadikaram is written by (A) Kamban (B) Ilaugo Adigal (C) Thiruvalluvar (D) Kapilar

3. Match the items in List-I with that of List-II List-I List-II (a) Sonal Mansingh (i) Literature (b) Satish Gujral (ii) Dance (c) M. T. Vsudevan Nair (iii) Painting (d) Dadi Pudumajee (iv) Pupperty (a) (b) (c) (d) (A) (i) (iv) (ii) (iii) (B) (iv) (iii) (i) (ii) (C) (iii) (ii) (iv) (i) (D) (ii) (iii) (i) (iv)

J—6506 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

Ö滗I

ÙëˆØ ¥æñÚ ÙæÅ·¤ / Ú´»×´¿ ÎæðÙæð´ ·ð¤ çÜ°

1. ÙæÅKàææ ·¤æ â×Ø·¤æÜ âæ×æ‹ØÌÑ ãñ Ñ (A) 500 BC âð 300 BC (B) 200 BC âð 200 AD (C) 300 AD âð 500 AD (D) 1000 BC âð 800 BC

2. ç·¤âÙð ÒçàæÜæŒÂçη¤Ú× Ò çܹæ ãñ Ñ (A) ·¤ÕÙ (B) §Üæ»æð ¥çÇ»Ü (C) çÌL¤ßæ„éßæÚ (D) ·¤çÂÜæÚ

3. âé¿è-I âð âé¿è - II ·¤æð âé×ðçÜÌ ·¤èçÁ° Ñ âé¿è-I âé¿è -II (a) âæðÙÜ ×æÙçâã (i) âæç±ˆØ (b) âÌèàæ »éÁÚæÜ (ii) ÙëˆØ (c) °×.çÅ. ßæâéÎðßÙ ÙÄØÚ (iii) 翘淤Üæ (d) ÎæÉè ÂÎ×Áè (iv) ÂéÌéÜ·¤Üæ (a) (b) (c) (d) (A) (i) (iv) (ii) (iii) (B) (iv) (iii) (i) (ii) (C) (iii) (ii) (iv) (i) (D) (ii) (iii) (i) (iv)

J—6506 3P.T.O. 4. ‘Sadhir’ performed by Devadasis is now evolved as

(A) Odissi (B) Bharatnatyam

(C) Kuchipudi (D) Mohiniattam

5. Oscar Award for the best film was given to

(A) Aviator (B) Ray

(C) Million Dollar Baby (D) Sideways

6. Which one of the following is not a classical dance ?

(A) Mohiniattam (B) Kuchipudi

(C) Yakshagana (D) Odissi

7. Sculptural evidence of 108 karanas are found in :

(A) Mamallapuram (B) Chidambaram Temple

(C) Khajurao (D) Ajanta

8. Dhavni Sidhantha is attributed to :

(A) Bharata (B) Abhinavagupta

(C) Anandhavardhana (D) Dhananjaya

9. Who translated ‘Abhijanana Shakuntalam’ into English first and brought it to the notice of the west :

(A) A. B. Keith (B) Sir William Jones

(C) H. H. Wilson (D) Max Mueller

J—6506 4 4. ÎðßÎæçâØæð´ mæÚæ ç·¤Øð ÁæÙðßæÜð ÒâæçÎÚ ·¤æð ¥Õ ·¤ãÌð ãñ Ñ

(A) ¥æðçÇàæè (B) ÖÚÌÙæÅK×

(C) ·é¤ç¿ÂéÇè (D) ×æðçãçÙ¥^×

5. Ò¥æòS·¤ÚÓ ç×ÜÙð ßæÜæ âßæðüˆ× ¿Ü翘æ ãñ Ñ

(A) °çß°ÅÚ (B) Úð

(C) ç×çÜØÙ ÇòæÜÚ ÕðÕè (D) âæ§üÇßðÁ

6. çِ٠çÜç¹Ì ×ð´ âð ·¤æñÙ âæ àæèØ ÙëˆØ Ùãè ãñ?

(A) ×æðçãÙè ¥^× (B) ·é¤ç¿ÂéǸè

(C) Øÿæ»æÙ (D) ¥æðçǸàæè

7. 108 ·¤ÚÙæð´ ·¤è ×êçÌü·¤Üæ ç×ÜÌæ ãñ Ñ

(A) ×ׄæÂéÚ× ×ð´ (B) ç¿Î´ÕÚ× ×ç‹ÎÚ ×ð´

(C) ¹ÁéÚæãæð ×ð´ (D) ¥Á´‹Ìæ ×ð´

8. ŠßçÙ çâg´æ‹Ì ÁéǸæ ãé¥æ ãñ Ñ

(A) ÖÚÌ âð (B) ¥çÖÙß»éŒÌ âð

(C) ¥æÙ´ÎßÏüÙ âð (D) ÏÙÁ´Ø âð

9. Ò¥ç֙ææÙ àææ·é´¤ÌÜ×Ó ·¤æ ÂãÜæ ¥´»ýððÁè ¥ÙéßæÎ ·¤Ú·ð¤ Âçà¿× ·¤æ ŠØæÙ ¥æ·¤çáÌ ·¤ÚÙð ×ð´ 緤ⷤæ Øæð»ÎæÙ Úãæ Ñ

(A) °.Õè. ·¤èÍ (B) âÚ çßçÜØ× Áæð‹â

(C) °¿.°¿.çßËâÙ (D) ×ñ€â ØêÜÚ

J—6506 5 P.T.O. 10. Match the items in List-I with that of List-II List-I List-II (a) Dasrupa (i) Jagannatha Panditha (b) Dvanyloka (ii) Dhanajaya (c) Abhinavabharati (iii) Anandhavardhana (d) Rasagangadhara (iv) Abhinavagupta (a) (b) (c) (d) (A) (ii) (iii) (iv) (i) (B) (iii) (ii) (i) (iv) (C) (iv) (iii) (ii) (i) (D) (i) (iv) (iii) (ii)

11. M. S. Subbulakshmi was featured in the title role of the film : (A) Chandralekha (B) Vasanthasena (C) Mira (D) Charulatha

12. Rukmini devi Arundale established : (A) Kalamandalam (B) Kalakshetra (C) Nrityagram (D) Vishwabharati

13. ‘Abhang’ is the form of poetry sung by : (A) Eknath (B) Surdas (C) Tukaram (D) Kabir

14. Ramanuja is the founder of : (A) Advaita (B) Dvaita (C) Vishishatadvaita (D) Saiva sidhantha

15. Who is the author of Ramcharitmanas : (A) Surdas (B) Tulsidas (C) Valmiki (D) Vyas

J—6506 6 10. âé¿è-I âð âé¿è-II âð âé×ðçÜÌ ·¤èçÁ° Ñ âé¿è-I âé¿è-II (a) ÎàæM¤Â (i) Á»óææÍ Â´çÇÌ (b) Šß‹ØæÜæð·¤ (ii) ÏÙ´ÁØ (c) ¥çÖÙßÖæÚÌè (iii) ¥æÙ´ÎßÏüÙ (d) Úâ»´»æÏÚ (iv) ¥çÖÙß»é# (a) (b) (c) (d) (A) (ii) (iii) (iv) (i) (B) (iii) (ii) (i) (iv) (C) (iv) (iii) (ii) (i) (D) (i) (iv) (iii) (ii)

11. °×.°â.âéŽÕéÜÿ×è ·¤æð 緤⠿Ü翘æ ×ð´ àæèáü Öêç×·¤æ ç×Üè Ñ (A) ¿´ÎýÜð¹æ (B) ßâ´ÌâðÙæ (C) ×èÚæ (D) ¿æL¤ÜÌæ

12. L¤·¤çׇæè Îðßè ¥L¤Çð´Ü Ùð SÍæçÂÌ ç·¤Øæ Ñ (A) ·¤Üæ×´ÇÜ× (B) ·¤Üæÿðæ˜æ (C) ÙëˆØ»ýæ× (D) çßàßÖæÚÌè

13. ·¤çßÌæ ÂhçÌ ·ð¤ Ò¥Ö´»Ó »æÌð ãñ Ñ (A) °·¤ÙæÍ (B) âéÚÎæâ (C) Ìé·¤æÚæ× (D) ·¤ÕèÚ

14. Úæ×æÙéÁ Ùð SÍæÂÙæ ç·¤Øæ Ñ (A) ¥hñÌ (B) hñÌ (C) çßçàæCæmñÌ (D) àæñßçâhæ‹Ì

15. ÒÚæ׿çÚÌ×æÙâÓ ·¤æ »ý´Í·¤æÚ ·¤æñÙ ãñ? (A) âéÚÎæâ (B) ÌéÜçâÎæâ (C) ßæçË×·¤è (D) ÃØæâ

J—6506 7 P.T.O. 16. Vyabhichari bhava is a : (A) Dominant mood (B) Transitory state (C) Involuntary state (D) None of the above

17. Vasanthasena is the Nayika of the play : (A) Venisamhar (B) Mrichakatikam (C) Swapnavasavadatta (D) Ratnavali

18. ‘Samskara’ is a novel written by : (A) Shivarama Karanth (B) U. R. Ananthamurthy (C) Girish Karnad (D) P. Lankesh

19. Identify the actor who was popular for his acting in female roles : (A) Gubbi Veeranna (B) Bal Gandharva (C) M. G. Ramachandran (D) Fida Hussain

20. Assertion (A) : The themes of classical Indian dance are generally not the sociological problems of the day . Reason (R) : The classical Indian view of art could not take it Codes : (A) (A) is true (R) is false (B) (A) and (R) are true (C) (A) is false (R) is true

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

21. Spoken word is not found in

(A) Opera (B) Dance-Drama

(C) Ballet (D) All the above

J—6506 8 16. ÃØçÖ¿æÚè Öæß °·¤ Ñ

(A) ÂýÖæßè ×ÙÑçSÍçÌ (B) â´R¤×‡æàæèÜ çSÍçÌ

(C) ¥Ùñç‘À·¤ çSÍçÌ (D) ©ÂÚ ·¤æ ·¤æð§ü Ùãè´

17. ßâ´ÌâðÙæ 緤ⷤè ÙæçØ·¤æ ãñ Ñ

(A) ßð‡æèâ´ãæÚ (B) ×ë‘À·¤çÅ·¤×

(C) SߌÙßæâßΞæ (D) ڈÙæßÜè

18. ÒâS·¤æÚÓ ©Â‹Øæâ ç·¤âÙð çܹæ Ñ

(A) çàæßÚæ× ·¤æÚ‹Í (B) Øé.¥æÚ.¥Ù´Ì×êçÌü

(C) ç»Úèàæ ·¤‡ææüÇ (D) Âè.Ü´·ð¤àæ

19. S˜æè ¿çÚ˜æ ·¤æ ¥æçÖÙØ ·¤ÚÙðßæÜð Üæð·¤çÂýØ ¥çÖÙðÌæ ·¤æñÙ ãñ?

(A) »éŽÕè ßèÚóææ (B) ÕæÜ »´Ïßü

(C) °×.Áè.Úæ׿´ÎýÙ (D) çȤÎæ ãéâñÙ

20. ·¤ÍÙ (A) : ÖæÚÌèØ àææS˜æèØ ÙëˆØ ·¤è çßáØßSÌé âæ×æ‹ØÌÑ ¥æÁ ·¤è âæ×æçÁ·¤ â×SØæØð´ Ùãè´ ãñ´Ð

·¤ÍÙ (R) : ·¤Üæ ·¤è ÖæÚÌèØ àææS˜æèØ ²çcÅ §âð â×æçãÌ Ùãè´ ·¤Ú â·¤Ìè ·¤æðǸ Ñ

(A) (A) âãè (R) »ÜÌ

(B) (A) ¥æñÚ (R) âãè

(C) (A) »ÜÌ (R) âãè

(D) (A) ¥æñÚ (R) ÎæðÙæð´ »ÜÌ

21. ç·¤â×ð´ àæŽÎ ÕæðÜð Ùãè´ ÁæÌð Ñ

(A) ¥æòÂðÚæ (B) ÙëˆØ-ÙæÅK

(C) ÕðÜðÅ (D) ª¤ÂÚ ·ð¤ âÖè

J—6506 9 P.T.O. 22. Which one of the following is not correctly matched ?

(A) Utpal Dutt - Kallol

(B) Vilayat Khan - Violin

(C) K.C.S. Panikkar - Cholamandalam

(D) Kelucharan Mahapatra - Odissi

23. Who translated Natyashastra into English first ?

(A) Dr. Man Mohan Singh

(B) Dr. Man Mohan Ghosh

(C) Man Mohan Desai

(D) Adya Rangacharya

24. ‘Mirror of Gestures’ is an English version of :

(A) Hastamuktavali

(B) Natyadarpan

(C) Abhinayadarpan

(D) Hastalakshana dipika

25. Indicate the author of the dance drama ‘Chandalika’

(A) Jain Shankar Prasad

(B) Rabindranath Tagore

(C) Shivarama Karanth

(D) Vishnudas Bhave

J—6506 10 22. çِÙçÜç¹Ì ×ð´ âð ·¤æñÙ âé×ðçÜÌ Ùãè´ ãñ?

(A) ©ˆÂÜ Îžæ - ·¤„æðÜ

(B) çßÜæØÌ ÚßæÙ - ßæØæðÜèÙ

(C) ·ð¤.âè.°â.Âæç‡æ·¤Ú - ¿æðÜæ״ǸÜ×

(D) ·¤æÜé¿Ú‡æ ×ãæÂæ˜æ - ¥æðçǸâè

23. ç·¤âÙð Ò ÙæÅKàææ˜æ Ò ·¤æ ¥´»ýðÁè ×ð´ âßüÂýÍ× ¥ÙéßæÎ ç·¤Øæ Ñ

(A) Çæò. ×Ù×æðãÙ çâ´ã

(B) Çæò. ×Ù×æðãÙ ƒææðá

(C) ×Ù×æðãÙ Îðâæ§ü

(D) ¥æŠØ Ú´»æ¿æØü

24. Òç×ÚÚ ¥æòȤ »ðS¿üâÓ ßSÌéÌÑ ¥´»ýðÁè ·¤Í٠緤ⷤæ ãñÑ

(A) ãSÌ×éQ¤æßÜè

(B) ÙæÅKÎÂü‡æ

(C) ¥çÖÙØÎÂü‡æ

(D) ãSÌÜÿæ‡æ Îèç·¤æ

25. ÙëˆØ ÙæÅK Ò ¿æǸæçÜ·¤æ Ò ç·¤âÙð çܹæ Ñ

(A) ÁØ àæ´·¤Ú ÂýâæÎ (B) ÚçߋÎýÙæÍ Åñ»æðÚ

(C) çàæßÚæ× ·¤æÚ‹Í (D) çßá‡æéÎæâ Öæßð

J—6506 11 P.T.O. PART - II

DANCE

26. The nayika who adorns herself in expectation of her lover is called :

(A) Swadhinabhartika (B) Virohatkanthita (C) Vasaksajjika (D) Kalahantarita

27. The famous modern dance artist Rudolf Laban hails from

(A) Russia (B) Germany (C) France (D) America

28. The book ‘The Sacred Dance of India’ was written by :

(A) Mohan Khokar (B) Mrinalini Sarabhai (C) Kapila Vatsyayan (D) Sunil Kothari

29. The father of Shambhu Maharaj was :

(A) Birju Maharaj (B) Luchhu Maharaj (C) Kishen Maharaj (D) Thakuar Prasad

30. The instruments Dudhika, Mahuri, Gunitra and Changu are used in :

(A) Bharatnatyam (B) Kuchipudi (C) Odissi (D) Manipuri

31. Which dance-drama of Tagore was influenced by Kabuki

(A) Tasher Desh (B) Chitrangada (C) Shapmochan (D) Shyama

32. Dhumal belongs to :

(A) Mizoram (B) Uttar Pradesh (C) Kashmir (D) Haryana

J—6506 12 PART - II xÉÞiªÉ

26. Áæð ÙæçØ·¤æ ¥ÂÙð Âýð×è ·¤è ÂýÌèÿææ ×ð´ ¥ÂÙð ¥æ·¤æð âÁæÌè ãñ Ñ

(A) SßæÏèÙÖçžæü·¤æ (B) çßÚã·¤ç‹ÍÌæ

(C) ßæâ·¤âç”æ·¤æ (D) ·¤Üãæ‹ÌçÚÌæ

27. ¥æÏéçÙ·¤ ÙëˆØ ·¤è Âýçâh ·¤Üæ·¤æÚ L¤ÇÜȤ ÜæÕæÙ ç·¤â Îðàæ ·¤è ãñ?

(A) L¤â (B) Á×üÙè

(C) È´ý¤æâ (D) ¥×ðçÚ·¤æ

28. Ò âðRð¤Ç Çæ‹â ¥æòȤ §ç‡ÇØæ ÒÂéSÌ·¤ ç·¤âÙð çܹè ãñ?

(A) ×æðãÙ ¹æð·¤Ú (B) ×ë‡ææçÜÙè âæÚæÖæ§ü

(C) ·¤çÂÜæ ßæˆSØæØÙ (D) âéÙèÜ ·¤æðÆæÚè

29. àæ´Öé ×ãæÚæÁ ·ð¤ çÂÌæ Íð Ñ

(A) çßÚÁé ×ãæÚæÁ (B) ܑÀé ×ãæÚæÁ

(C) ç·¤àæÙ ×ãæÚæÁ (D) Ææ·é¤Ú ÂýâæÎ

30. ÎéçÏ·¤æ, ×æãéÚè, »éÙè˜ææ ¥æñÚ À´»é ßæl ç·¤â ÙëˆØ ×ð ÂýØé€Ì ãæðÌð ãñ?

(A) ÖæÚÌÙæÆK× (B) ·é¤ç¿ÂéçÇ

(C) ¥æðçÇâè (D) ×ç‡æÂéÚè

31. ·¤æßé·¤è mæÚæ ÂýÖæçßÌ Åð»æñÚ ·¤æ ÙëˆØÙæÅK ãñ

(A) ÌæàæðÚ Îðàæ (B) 翘ææ»´Ïæ

(C) àææÂ×æð¿Ù (D) àØæ×æ

32. Ïé×Ü ç·¤â Úæ’Ø ·¤æ ÙëˆÍ ãñ

(A) ç×ÁæðÚ× (B) ©žæÚ ÂýÎðàæ

(C) ·¤æà×èÚ (D) ãçÚØæ‡ææ

J—6506 13P.T.O. 33. Satyajit Ray made a documentary on :

(A) Yamini Krishnamurty (B) Udayshankar

(C) Rukmini Devi (D) Balasaraswati

34. The terms ‘Madhya’ and ‘mugdha’ are associated with :

(A) types of heroines (B) types of heroes

(C) types of characters (D) none of these

35. The goddess of Suknani Ojapali is :

(A) Durga (B) Manasha

(C) Radha (D) Kali

36. Match List-I with List-II

List-I List-II

(a) Pwe (i) Srilanka

(b) Candy (ii) Java

(c) Wayang (iii) Burma

(d) Nangpen (iv) Cambodia

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

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

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

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

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

J—6506 14 33. âˆØÁèÌ Úð Ùð ç·¤â ÂÚ ßëžæ翘æ ÕÙæØæ Íæ?

(A) Øæç×Ùè ·ë¤c‡æ×éçÌü (B) ©ÎØàæ´·¤Ú

(C) L¤ç€×‡æè Îðßè (D) ÕæÜæâÚSßÌè

34. Ò׊ØæÓ¥æñÚ Ò×é‚ÏæÓ ·¤æ âÕ‹Ï ç·¤ââð ãñ?

(A) ÙæçØ·¤æÖðÎ (B) ÙæØ·¤ÖðÎ

(C) ¿çژæÖðÎ (D) ©ÂÚ ·¤æ ·¤æð§ü Ùãè´

35. Òâéç·¤ÙæÙè ¥æðÁæÂæÜè ·¤è Îðßè ãñ Ñ

(A) Îé»æü (B) ×Ùâæ

(C) ÚæÏæ (D) ·¤æÜè

36. âé¿è-I âð âé¿è-II · ·¤æ ç×ÜæÙ ·¤èçÁØðÑ

âé¿è-I âé¿è-II

(a) ŒØð (i) ŸæèÜ´·¤æ

(b) ·ñ´¤Ç¸è (ii) Áæßæ

(c) ßðØæ´» (iii) Õ×æü

(d) Ùæ»ÂðÙ (iv) ·¤ÕæðçÇØæ

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

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

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

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

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

J—6506 15 P.T.O. 37. Match List-I with List-II List-I List-II (a) Padam (i) pure dance item (b) Pallavi (ii) abhinaya item (c) Cholom (iii) rhythemic syllables (d) Cholkettu (iv) drum and cymbal dance (a) (b) (c) (d) (A) (ii) (i) (iii) (iv) (B) (ii) (iv) (i) (iii) (C) (i) (ii) (iii) (iv) (D) (ii) (i) (iv) (iii)

38. Which one is not correctly matched ? (A) Shanti Bardhan and Gul Bardhan (B) Udayashankar and Amala Shankar (C) Raja Reddy and Radha Reddy (D) U. S. Krishna Rao and Maya Rao

39. Which one is correctly matched ? (A) Radha and swakeeya nayika (B) Radha and parakeeya nayika (C) Radha and madhya nayika (D) All of the above

40. Which one is correctly matched ? (A) Kathakali and Tadi (B) Manipuri and Charka (C) Satra and Gotipua (D) Kuchipudi and Radha

41. Assertion (A) : All Indian classical dances use ‘aharya’ according to characters. Reason (R) : Natyashastra has set the rules for use of ‘aharya’ Codes : (A) (A) is true but (R) is false (B) (A) is false but (R) is true (C) (A) and (R) are both true (D) (A) and (R) are both false

J—6506 16 37. âé¿è -I âð âé¿è-II ·¤æ ç×ÜæÙ ç·¤ÁèØð Ñ

âé¿è-I âé¿è-II

(a) ÂÎ× (i) àæéh ÙëˆØ

b) „ßè (ii) ¥æçÖÙØ ÙëˆØ

(c) ¿æðÜæð× (iii) ÌæÜ ·¤æ ¥ÿæÚ

(d) ¿æðÜ·ð¤^ä (iv) ×ëλ´ ¥æñÚ ·¤ÚÌæÜ ÙëˆØ (a) (b) (c) (d) (A) (ii) (i) (iii) (iv) (B) (ii) (iv) (i) (iii) (C) (i) (ii) (iii) (iv) (D) (ii) (i) (iv) (iii)

38. ·¤æñÙ-âæ Øé‚× âãè Ùãè ãñ?

(A) àææ´çÌ ÕÏü‡æ ¥æñÚ »éÜ ÕÏü‡æ (B) ©ÎØàæ´·¤Ú ¥æñÚ ¥×Üæàæ´·¤Ú

(C) ÚæÁ Úðaè ¥æñÚ ÚæÏæ Úðaè (D) Øé.°â.·ë¤c‡æ Úæß ¥æñÚ ×æØæ Úæß

39. ·¤æñÙ -âæ Øé‚× âãè ãñ ?

(A) ÚæÏæ ¥æñÚ Sß·¤èØæ ÙæçØ·¤æ (B) ÚæÏæ ¥æñÚ ÂÚ·¤èØæ ÙæçØ·¤æ

(C) ÚæÏæ ¥æñÚ ×ŠØ ÙæçØ·¤æ (D) ©ÂÚ ·ð¤ âÖè

40. ·¤æñÙ-âæ Øé» âãè ãñ ?

(A) ·¤Í·¤Üè ¥æñÚ ÌÇè (B) ×ç‡æÂéÚè ¥æñÚ ¿æñ·¤æ

(C) â˜ææ ¥æñÚ »æðçÅÂé¥æ (D) ·é¤ç¿ÂéÇ¸è ¥æñÚ ÚæÏæ

41. ·¤ÍÙ(A) : âÖè ÖæÚÌèØ àææèØ ÙëˆØ ×ð´ Ò¥ãæØüÓ ·¤æ ©ÂØæð» ¿çÚ˜æ ·ð¤ ¥ÙéâæÚ ãæðÌæ ãñ!

·¤æڇæ (R) : ÙæÅKàææ˜æ ×ð´ ¥ãæØü ·ð¤ çÜ° çÙØ× çÙÏæüçÚÌ ç·¤Øð »Øð ãñ !

·¤æðǸâ :

(A) (A) âˆØ ãñ, ç·¤‹Ìé (R) »ÜÌ ãñ

(B) (A) »ÜÌ ãñ, ç·¤‹Ìé (R) âˆØ ãñ

(C) (A) ÌÍæ (R) ÎæðÙæð´ âˆØ ãñ Ð

(D) (A) ÌÍæ (R) ÎæðÙæð´ »ÜÌ ãñ Ð

J—6506 17 P.T.O. 42. Assertion (A) : Dasavatar is an invocatory item for most Indian classical dances.

Reason (R) : Abhinaya darpanam set the rules for Dasavatar hastamudras.

Codes :

(A) (A) and (R) are both true

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

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

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

43. Assertion (A) : Bharata put forward eight nayikabhedas.

Reason (R) : This classification is based on the inborn qualities of the heroine

Codes :

(A) (A) and (R) are both false

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

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

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

44. Which is the correct sequence ?

(A) Viprolabdha, Basaksajjika, Khandita, Abhisarika

(B) Basaksajjika, Abhisarika, Khandita, Viprolabdha

(C) Abhisarika, Basaksajjika, Viprolabdha, Khandita

(D) Khandita, Basaksajjika, Viprolabdha, Abhisarika

45. Which is the correct sequence ?

(A) Astapadiattam, Krishnattam, Ramnattam, Kathakli

(B) Krishnattam, Ramnattam, Kathakli, Astapadiattam

(C) Kathakli, Ramnattam, Krishnattam, Astapadiattam

(D) Ramnattam, Krishnattam, Kathakli, Astapadiattam

J—6506 18 42. ·¤ÍÙ (A) : ¥çÏ·¤æ´àæ ÖæÚÌèØ àææS˜æèØ ÙëˆØ ×ð´ ÎàææßÌæÚ ÂýæÍüÙæ ÙëˆØ ãñÐ

·¤æڇæ (R) : ¥æçÖÙØ ÎÂü‡æ× ×ð´ ÎàææßÌæÚ ãSÌ×éÎýæ ·ð¤ çÙØ× çÙÏæüçÚÙ ãñÐ

·¤æðǸ :

(A) (A) ÌÍæ (R) ÎæðÙæð´ âˆØ ãñ Ð

(B) (A) ÌÍæ (R) ÎæðÙæð´ »ÜÌ ãñ Ð

(C) (A) âˆØ ãñ ÌÍæ (R) »ÜÌ ãñÐ

(D) (A) »ÜÌ ãñ ÌÍæ (R) âˆØ ãñÐ

43. ·¤ÍÙ (A) : ÖÚÌ ×ð ¥æÅ Âý·¤æÚ ·¤è ÙæçØ·¤æØð´ ÕÌæØè »Øè ãñÐ

·¤æڇæ (R) : Øã ß»èü·¤Ú‡æ ÙæçØ·¤æ ·ð¤ Á‹×ÁæÌ »é‡ææð´ ÂÚ çÙÖüÚ ãñÐ

·¤æðǸ :

(A) (A) ¥æñÚ (R) ÎæðÙæð´ »ÜÌ ãñ Ð

(B) (A) ¥æñÚ (R) ÎæðÙæð´ âãè ãñ Ð

(C) (A) »ÜÌ ãñ ç·¤‹Ìé (R) âãè ãñ Ð

(D) (A) âãè ãñ ç·¤‹Ìé (R) »ÜÌ ãñ Ð

44. âãè R¤× ·¤æñÙ âæ ãñ ?

(A) çßÂý܎Ïæ, ßæâ·¤âç”æ·¤æ, ¹´çÇÌæ, ¥çÖâæçÚ·¤æ Ð

(B) ßæâ·¤âç”æ·¤æ, ¥çÖâæçÚ·¤æ, ¹´çÇÌæ, çßÂý܎Ïæ

(C) ¥æçÖâæçÚ·¤æ, ßæâ·¤âç”æ·¤æ, çßÂý܎Ïæ, ¹´çÇÌæ

(D) ¹´çÇÌæ, ßæâ·¤âç”æ·¤æ çßÂý܎Ïæ, ¥çÖâæçÚ·¤æ

45. âãè R¤× ·¤æñÙ âæ ãñ ?

(A) ¥CÂÅè¥^×, ·ë¤c‡ææ^×, Úæ×Ùæ^×, ·¤Í·¤ÜèÐ

(B) ·ë¤c‡ææ^×, Úæ×Ùæ^×, ·¤Í·¤Üè, ¥CÂÅè¥^×Ð

(C) ·¤Í·¤Üè, Úæ×Ùæ^×, ·ë¤c‡ææ^×, ¥CÂÅè¥^×Ð

(D) Úæ×Ùæ^×, ·ë¤c‡ææ^×, ·¤Í·¤Üè, ¥CÂÅè¥^×Ð

J—6506 19 P.T.O. 46. Which is the correct sequence ?

(A) Anjali, Kapata, Karkata, Swastika

(B) Anjali, Karkata, Kapata, Swastika

(C) Anjali, Kapata, Swastika, Karkata

(D) Anjali, Swastika, Karkata, Kapata

47. To bring the learning of dance to the University level, it is necessary to :

(A) compile dance history

(B) add innovative technique of teaching

(C) teach research methodology

(D) all the above

48. Indicate the odd one out ?

(A) Anita Ratnam (B) Daksha Seth

(C) Alarmal Velli (D) Mallika Sarabhai

49. Khamba and Toibi are characters of :

(A) Laiharaoba (B) Bamboo Dance

(C) Ojapali (D) Bihu

50. The Jawahrlal Nehru Dance Akademy is in :

(A) Kolkata (B) Delhi

(C) Srinagar (D) Imphal

J—6506 20 46. âãè R¤× ·¤æñÙ-âæ ãñ ?

(A) ¥´ÁçÜ, ·¤ÂÅ, ·¤·ü¤Å, SßçSÌ·¤

(B) ¥´ÁçÜ,·¤·ü¤Å, ·¤ÂÅ, SßçSÌ·¤

(C) ¥´ÁçÜ, ·¤ÂÅ,SßçSÌ·¤, ·¤·ü¤Å

(D) ¥´ÁçÜ, SßçSÌ·¤, ·¤·ü¤Å, ·¤ÂÅ,

47. çßàæßçßlæÜØ SÌÚ ÂÚ ÙëˆØæ ·¤è çàæÿææ ·¤æð ÂýÎæÙ ·¤ÚÙð ·ð¤ çÜ° Øã ¥æßàØ·¤ ãñ ç·¤ Ñ

(A) ÙëˆØ §çÌãæâ ·¤æ â·´¤ÜÙ ç·¤Øæ Áæ°

(B) ÙëˆØ- çàæÿææ ×ð´ ÙØæ Ì·¤Ùè·¤ ÂýSÌéÌ ç·¤Øæ ÁæØ

(C) àææðÏ çßçÏ ·¤æ çàæÿæ‡æ

(D) ©ÂÚ ·ð¤ âÖè

48. çßá× ·¤æð ¿éçÙæ° Ñ

(A) ¥çÙÌæ ڈÙ× (B) Îÿææ àæðÆ

(C) ¥Ü×üÜ ßñç„ (D) ×焷¤æ âæÚæÖæ§ü

49. Ò¹´Ö ¥æñÚ Ìæð§ÕèÓ çßàæðáÌæØð´ 緤ⷤè ãñ?

(A) Üæ§ü ãÚæ¥Õæ (B) ՐÕé ÙëˆØ

(C) ¥æðÁæÂæÜè (D) çßãé

50. ÁßæãÚÜæÜ ÙðãL¤ ÙëˆØ ¥·¤æÎ×è ·¤ãæ¡ ãñ Ð

(A) ·¤æðÜ·¤žææ (B) ç΄è

(C) ŸæèÙ»Ú (D) §üÈ¤æÜ

J—6506 21 P.T.O. PART - III

DRAMA / THEATRE

26. Of the following playrights, who is known for writing political plays

(A) Satish Alekar (B) Mohan Rakesh (C) G. P. Deshpande (D) Chandrasekhar Kambar

27. Which of the following is a Kannada play ?

(A) Mahachaitra (B) Mahanivarna (C) Sankranthi (D) Mazhai

28. Match the items in List-I with that of items in List-II

List-I List-II (a) The empty space (i) Yan kott (b) Theatre and its double (ii) Peter Brook (c) Theatre of the Absurd (iii) Anotonin Artaud (d) Shakespear our contemporary (iv) Martin Esslin (a) (b) (c) (d) (A) (i) (ii) (iii) (iv) (B) (ii) (iv) (iii) (i) (C) (ii) (iii) (iv) (i) (D) (iv) (iii) (ii) (i)

29. Uttarpriyadarshi is written by :

(A) Dharamvir Bharati (B) Nirmal Varma (C) Lakshminarayan Lal (D) H. S. Vatsyayan

30. Which is the correct sequence ?

(A) Kalidasa, Bhavabhuti, Bhasa, Vishakadutta (B) Bhasa, Kalidasa, Vishakadutta, Bhavabhuti (C) Bhasa, Kalidasa, Bhavabhuti, Vishakadutta (D) Kalidasa, Bhasa, Vishakadutta, Bhavabhuti

J—6506 22 PART - III xÉÉ]õEò / ®ÆúMɨÉÆSÉ

26. çِÙçÜç¹Ì ÙæÅ·¤·¤æÚæð´ ×ð´ âð ÚæÁÙñçÌ·¤ ÙæÅ·¤ çܹÙð·ð¤ çÜ° ØæÌ ãñ? (A) âÌèàæ ¥æÜð·¤Ú (B) ×æðãÙ Úæ·ð¤àæ (C) Áè.Âè.ÎðàæÂ洋Çð (D) ¿´‹Îýàæð¹Ú ·¤ÕæÚ

27. çِ٠çÜç¹Ì ÙæÅ·¤æð´ ×ð´ð âð ·¤æñÙâæ ÙæÅ·¤ ·¤óæÇ ãñ Ñ (A) ×ãæ¿ñ˜ææ (B) ×ãæçÙßæü‡æ (C) â´R¤æç‹Ì (D) ×Ûææ§ü

28. âê¿è °·¤ ·¤æð ÎéâÚè âð âé×ðçÜÌ ·¤èçÁØð Ñ âê¿è-I âê¿è-II (a) Î °ÂÅè SÂðâ (i) ØÙ ·¤æð^ (b) çÍØðÅÚ ¥æñÚ ©Ù·¤æ ÇÕÜ (ii) ÂèÅÚ Õýé·¤ (c) çÍØðÅÚ ¥æòȤ Î °ŽâÇü (iii) °ÙæðÅæðçÙÙ ¥æÚÌæñÇ (d) àæð€âÂè¥Ú ¥ßÚ ·¤æ‹ÅðÂÚÚè (iv) ×æçÅüÙ °âçÜÙ (a) (b) (c) (d) (A) (i) (ii) (iii) (iv) (B) (ii) (iv) (iii) (i) (C) (ii) (iii) (iv) (i) (D) (iv) (iii) (ii) (i)

29. ©žæÚçÂýØÎàæèü ç·¤âÙð çܹæ ãñÑ (A) Ï×üßèÚ ÖæÚÌè (B) çÙ×üÜ ß×æü (C) Üÿæ×èÙæÚæ؇æ ÜæÜ (D) °¿.°â. ßæˆâæØÙ

30. ·¤æñÙâæ R¤× âãè ãñ? (A) ·¤æçÜÎæâ, ÖßÖêçÌ, Öæâ, çßàææ¹Îžæ (B) Öæâ, ·¤æçÜÎæâ, çßàææ¹Îžæ, ÖßÖêçÌ (C) Öæâ, ·¤æçÜÎæâ, ÖßÖêçÌ, çßàææ¹Îžæ (D) ·¤æÜèÎæâ, Öæâ, çßàææ¹Îžæ, ÖßÖêçÌ

J—6506 23P.T.O. 31. Indicate the odd one out

(A) Shakuntalam (B) Ritu samhar (C) Malavika agnimitram (D) Vikramorvashiyam

32. Assertion (A) : Theatre survives on subsidies and sponsorship

Reason (R) : Theatre is not a commercially viable medium Codes : (A) Both (A) and (R) are false (B) Both (A) and (R) are true (C) (A) is true(R) is false (D) (A) is false (R) is true

33. In which one of the following traditional form Sanskrit plays are still performed ?

(A) Kathakali (B) Koodiyattam (C) Yakshagana (D) Bhagawata Mela

34. ‘Playwright at the Centre’ is a book written by :

(A) Rustom Bharucha (B) Shanta Gokhale (C) Kumud Mehta (D) N. C. Jain

35. Indicate the odd on out :

(A) Nemichandra Jain (B) E-Alkazi (C) Shanta Gokhale (D) Kavita Nagpal

36. Which one of the following is not correctly matched ?

(A) Sombhu Mitra - Raka Karbhi (B) Habib Tanvir- Agra Bazaar (C) Ratan Thiyam - Pebet (D) Utpal Dutt - Kallol

J—6506 24 31. ¥â´»Ì ·¤è Âã¿æÙ ·¤èçÁ° Ñ

(A) àææ·é´¤ÌÜ× (B) ¬¤Ìéâ´ãæÚ

(C) ×æÜßè·¤æ¥ç»Açטæ (D) çßR¤×æðßüçàæØ×

32. ·¤ÍÙ (A) : Ú´»×´¿ ¥ÙéÎæÙ ¥æñÚ SÂæòÙâÚçàæ âð ÁèçßÌ ãñÐ

·¤æڇæ (R) : Ú´»×´¿ ÃØßâæØè ·¤è ÌæñÚÂÚ â´ÖæßÙæˆ×·¤ ×æŠØ× Ùãè´ ãñÐ ·¤æðǸ Ñ

(A) ÎæðÙæð´ (A) ¥æñÚ (R) »ÜÌ ãñÐ

(B) ÎæðÙæð´ (A) ¥æñÚ (R) â¿ ãñÐ

(C) (A) â“ææ ãñ (R) »ÜÌ ãñÐ

(D) (A) »ÜÌ ãñ (R) â“ææ ãñÐ

33. ·¤æñÙ-âæ çِ٠Üæð·¤ÙæÅK, ÂæڐÂçÚ·¤ àæñÜè ·ð¤ â´S·ë¤Ì ÙæÅ·¤æð´ ×ð ¥æÁ Öè ÂýSÌéÌ ç·¤Øæ ÁæÚãæ ãñ Ð

(A) ·¤Í·¤çÜ (B) ·é¤çÇØæ^×

(C) Øÿæ»æÙ (D) Öæ»ßÌ ×ðÜæ

34. ҌÜðÚæ§Å °Å Îè âð´‹ÅÚÓ ·¤æ Üð¹·¤ ·¤æñÙ ãñ ?

(A) L¤SÌé× ÖL¤¿æ (B) àæ洋Ìæ »æð¹Üð

(C) ·é¤×éÎ ×ðãÌæ (D) °Ù.âè.ÁñÙ

35. ¥â´»Ì·¤è Âã¿æÙ ·¤èçÁ° :

(A) Ùð×è¿´‹Îý ÁñÙ (B) §ü-¥Ü·¤æÛæè

(C) àæ洋Ìæ »æð¹Üð (D) ·¤çßÌæ Ùæ»ÂæÜ

36. ·¤æñÙâæ Øé‚× âãè Ùãè ãñ Ð

(A) àæ´Öé çטææ- ڀ̷¤Úßè (B) ãÕèÕ ÌÙßèÚ - ¥æ»Úæ ÕæÁæÚ

(C) ÚÌÙ çÍØæ×- ÂðÕðÌ (D) ©ˆÂÜ Îžæ - ·¤„æðÜ

J—6506 25 P.T.O. Read the passage below and answer the questions that follow based on your understanding of the passage :

In the absence of any recognizable active tradition of Sanskrit theatre in the coutry, occasional attempts to stage Sanskrit plays, mainly of Kalidasa or Bhavabhuti in more or less the western, semi-realistic or shakespearean style, could not naturally, be very successful in providing satisfying theatre experience. This only further confirmed the assessment of the western scholars and was also accepted by the new English educated Indian intelligentsia.

37. Sanskrit play production could be successful if

(A) they are produced in realistic style

(B) they are produced in parsi style

(C) they are produced as dance-dramas

(D) they are produced using the traditional theatre forms

38. Why semi-realistic theatre productions of Sanskrit plays could not provide satisfying theatre experience ?

(A) such production lack elaborate scenery

(B) lack of skills of actors

(C) lack of knowledge of Sanskrit

(D) In appropriate production style

39. What is the western scholars assessment of Sanskrit plays ?

(A) They are well written plays for performance

(B) They are meant to be read and not performed

(C) They are dance-dramas

(D) they are operas

J—6506 26 çِÙçÜç¹Ì »l´àæ ·¤æð Âɸ·¤Ú Ùè¿ð çܹð ÂýàÙæð´ ·¤æ ©žæÚ ÎèçÁ° Ñ Îðàæ ×ð´ â´S·ë¤Ì Ú´»×´¿ ·¤è ×æ‹Ø Âý¿çÜÌ ÂڐÂÚæ ·¤æ ¥Öæß ãñ Ð â×Ø â×Ø ÂÚ â´S·ë¤Ì ÙæÅ·¤æð´ ·ð¤ ×´¿Ù ·¤ð¤ ÂýØæâ ãé° ãñ, ×éØÌÑ ·¤æçÜÎæâ ¥æñÚ ÖßÖêÌè ·ð¤ ÙæÅ·¤æð´ ·ð¤Ð Üðç·¤Ù ßð ·¤×æðÕðàæ Âæà¿æˆØ, ¥hüØÍæÍüßæÎè ÌÍæ àæð€àæÂèØÚ àæñÜè ·¤æ ¥ÙéâÚÙ ·¤ÚÌð Úãð ¥ÌÑ ©Ùâð SßÖæçß·¤ M¤Â âð Ú´»×´¿ ·¤æ â´ÌæðáÁÙ·¤ ¥ÙéÖß ©ÂËÕÏ Ùãè ãé¥æÐ §Ùâð Øã Öè â´Öß ãé¥æ ç·¤ Âæà¿æˆØ çßmæÙæð´ ·¤æ ×êÜØæ´·¤Ù çÙçàæ¿Ì ãæð â·¤æ ¥æñÚ §âð ¥´»ýðÁè ×ð´ çàæçÿæÌ ÖæÚÌèØ ÕéçhÁèßè ß»ü Ùð »ýã‡æ ç·¤ØæÐ

37. â´S·ë¤Ì ÙæÅ·¤è´ ·¤æ ×´¿Ù ÌÖè âÈ¤Ü ãæð â·¤Ìæ ãñ ÁÕ Ñ

(A) ÁÕ ßð ØÍæÍüßæÎè àæñÜè ×ð´ ×´ç¿Ì ãæð´Ð

(B) ÁÕ ßð ÂæÚâè àæñÜè ×ð´ ×´ç¿Ì ãæð´Ð

(C) ÁÕ ßð ÙëˆØ - ÙæÅ·¤ ·ð¤ L¤Â ×ð´ ×´ç¿Ì ãæð´Ð

(D) ÁÕ ß ÂæڐÂçÚ·¤ Ú´»×´¿ àæñÜè ·¤æ ©ÂØæð» ·¤ÚÌð ãéßð ×´ç¿Ì ãæð´Ð

38. €Øæð´ â´S·ë¤Ì ÙæÅ·¤æð´ ·¤è ¥hüØÍæÍüßæÎè ÂýSÌéçÌ â´ÌæðáÂýÎ Ú´»×´¿èØ ¥ÙéÖß Ùãè´ ÂýÎæÙ ·¤ÚÌè Ñ

(A) §Ù ÂýSÌéçÌØæð´ ×ð´ çßSÌëÌ ÎëàØæð´ ·¤æ ¥Öæß ãæðÌæ ãñÐ

(B) ¥çÖÙðÌæ¥æð ×ð´ ·é¤àæÜÌæ ÎÿæÌæ ·¤æ ¥Öæß

(C) â´S·ë¤Ì Öæáæ ·ð¤ ™ææÙ ·¤æ ¥Öæß

(D) â×éç¿Ì ÂýSÌéçÌ àæñÜè ·¤æ ¥Öæß

39. Âæà¿æˆØ çßmæÙæð´ ·¤è â´S€ëÌ ÙæÅ·¤æð´ ·ð¤ ÂýçÌ €Øæ ¥ßÏæڇææ ãñ Ñ

(A) ßð ÂýSÌéçÌ ·ð¤ çÜ° âãè É´» âð çܹð »Øð ãñÐ

(B) ßð ·ð¤ßÜ ÂɸðÁæÙð ·ð¤ çÜ° ãñ , ÂýSÌéçÌ ·ð¤ çÜ° Ùãè´Ð

(C) ßð ÙëˆØÙæÅ·¤ ãñÐ

(D) ßð ¥æòÂðÚæ ãñÐ

J—6506 27 P.T.O. 40. ‘Parsi theatre’ acquired its name : (A) Because it is theatre of parsis (B) Actor and playwrights were from parsi community (C) Parsi theatre company owners are parsi (D) It is performed for parsi community

41. Which one of the following is not correctly matched ? (A) Sangitnatak - Vishnudas Bhave (B) Company Drama - Gubbi Veeranna (C) Parsi Theatre - Fida Hussain (D) Bengali Theatre - Amol Palekar

42. ‘Ghasiram Kotwal’ was directed by : (A) Satish Alekar (B) Bhaskar Chandravarkar (C) Vijay Tendulkar (D) Jabbar Patel

43. Which one of the following is an eminent music director for theatre? (A) Amal Allana (B) Probir Guha (C) Bhaskar Chandravarkar (D) Girish Karnad

44. Natyashodh Sansthan is a (A) theatre training institution (B) theatre group in calcutta (C) theatre archival centre (D) theatre funding agency

45. Of the following which one is considered an ‘absurd’ play (A) A Doll’s House (B) All my sons (C) Frogs (D) Waiting for Godot

J—6506 28 40. ÒÂæÚâè çÍØðÅÚÓ ·¤è ⴙææ €Øæð´ ç×Üè ãñ Ñ

(A) €Øæð´ç·¤ Øã ÂæÚçâØæð´ ·¤æ çÍØðÅÚ ãñÐ

(B) ¥çÖÙðÌæ ¥æñÚ ÙæÅ·¤·¤æÚ - Øð âÖè ÂæÚâè â×ëÎæØ ·ð¤ ÍðÐ

(C) ÂæÚâè çÍØÅÚ ·´¤ÂÙè ·¤ð ×æçÜ·¤ ÂæÚâè ãñ´Ð

(D) Øã ÂæÚâè â×éÎæØ ·ð¤ çÜ° ÂýSÌéÌ ç·¤Øð ÁæÌð ÍðÐ

41. §Ù×ð´ ·¤æñÙ-âæ âãè âé×ðÜ Ùãè´ ãñ Ñ

(A) â´»èÌÙæÅ·¤ - çßc‡æéÎæâ Öæßð

(B) ·´¤ÂÙè ÙæÅ·¤ - »éŽÕè ßèÚóææ

(C) ÂæÚâè çÍØðÅÚ - çȤÎæ ãêâðÙ

(D) Õð´»æÜè çÍØðÅÚ - ¥×æðÜ ÂæÜð·¤Ú

42. ƒææâèÚæ× ·¤æðÌßæÜ ·¤æ çÙÎðüàæ·¤ ·¤æñÙ ãñÐ

(A) âÌèàæ ¥æÜð·¤Ú (B) ÖæS·¤Ú ¿´‹ÎýæßÚ·¤Ú

(C) çßÁØ Ìð´ÇéÜ·¤Ú (D) ÁŽÕæÚ ÂÅðÜ

43. çÍØÅÚ·ð¤ ÁæÙð×æÙð â´»èÌ çÙÎðüàæ·¤ ·¤æñÙ ãñÐ

(A) ¥×æðÜ ¥„æÙ (B) ÂýßèÚ »éãæ

(C) ÖæS·¤Ú ¿‹ÎýæßÚ·¤Ú (D) ç»Úèàæ ·¤ÙæüÇ

44. ·¤æñÙ-âæ ÙæÅKàææðÏâ´SÍæÙ ãñÐ

(A) Ú´»×´¿ Âýçÿæ‡æ â´SÍæÙ (B) ·¤Ü·¤žææ ·¤æ Ú´»×´¿ ×´ÇÜ

(C) Ú´»×´¿ ¥æ·¤èüßÜ âð‹ÅÚ (D) Ú´»×´¿ ¥ÙéÎæÙ ÎðÙðßæÜè â´SÍæ

45. çِ٠ÙæÅ·¤æð´×ðâð ·¤æñÙâæ °ðŽâÇü ÙæÅ·¤ ãñÐ

(A) ¥ð ÇæðËâ ãæ©â (B) ¥òæÜ ×æ§ü â‹â

(C) Èý¤æò‚Á (D) ßð´çÅ´» ȤòæÚ »æðÇæðÅ

J—6506 29 P.T.O. 46. ‘Alienation’ is a concept of : (A) Piscator (B) Bertolt Breeht (C) Mayerhold(D) Artaud

47. Which one of the following is an eminent set designer for theatre ? (A) Tapas Sen (B) Roshan Alkazi (C) Dolly Alhuwalia (D) Nissar Allana

48. Heisnam Kanthilal is a theatre director from : (A) Assam (B) Manipur (C) Sikkim (D) Orissa

49. Habib Tanvir’s actors are mostly from the region of : (A) Bastar (B) Santhal (C) Chattisgarh (D) Vidarbha

50. Of the following who was a Marxist playwright director ? (A) P. L. Deshpande (B) M. L. Varadpande (C) Utpal Dutt (D) Ranjit Kapur

- o O o -

J—6506 30 46. Ò¥æçÜ°ÙðàæÙ çßÖæßÙæ 緤ⷤè ãñ Ñ (A) çÂS·ð¤ÅÚ (B) ÕÅæðüËÅ ÕýðÌ (C) ×ðØÚãæðËÇ (D) ¥æÚÌæñÇ

47. çِÙçÜç¹Ì ×ð´ âð ·ñ¤Ù Ú´»×´¿ ·ð¤ ÂýØæÌ ÒâðÅ çÇ$Áæ§üÙÚÓ ãñ Ñ (A) ÌæÂâ âðÙ (B) ÚæðàæÙ ¥Ë·¤æÁè (C) ÇæòÜè ¥ãÜêßæçÜØæ (D) çÙSâæÚ ¥ÜæÙæ

48. çãâÙæ× ·¤æç‹ÌÜæÜ °·¤ Ú´»×´¿ çÙÎðüàæ·¤ ãñ ßð ·¤ãòæ ·ð¤ ãñ Ñ (A) ¥æâæ× (B) ×ç‡æÂéÚ (C) çâ瀷¤× (D) ©Ç¸èâæ

49. ãÕèÕ ÌÙßèÚ ·ð¤ ¥çÖÙðÌæ ×éØÌÑ ç·¤â ÿæð˜æ âð ¥æÌð ãñ Ñ (A) ÕSÌÚ (B) â´ÍæÜ (C) Àžæèâ»É (D) çßÎÖü

50. §Ù×ð âð ·¤æñÙ ×æ€âüßæÎè ÙæÅ·¤æÚ-çÙÎðüàæ·¤ ãñ Ñ (A) Âè.°Ü. ÎðàæÂæ´Çð (B) °×.°Ü. ßÚÎÂæ´Çð (C) ©ˆÂÜ Îžæ (D) Ú´ÁèÌ ·¤ÂêÚ

- o O o -

J—6506 31 P.T.O. Space For Rough Work

J—6506 32