Theatre Studies Class: Xii Sample Paper 2016-17 Marking Scheme
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Amol and Chitra Palekar
NATYA SHODH SANSTHAN Interview of Amol and ChitraPalekar FROM THE COLLECTIONS OF NATYASHODHSANSTHAN AUDIO LIBRARY Recorded on 1st. July, 1982 NatyaBhavan EE 8, Sector 2, Salt Lake, Kolkata 700091/ Call 033 23217667 visit us at http://www.natyashodh.org https://sites.google.com/view/nssheritagelibrary/home (Amol Palekar&ChitraPalekar came a little late and joined the discussionregarding the scope of theatre and the different forms a playwright tries to explore.) ChitraPalekar It is not that you cannot do a thing. You can do anything, you can do anything. It is not the point. The point is that the basic advantage that cinema has over theatre, the whole mass of audience, you know, all those eight hundred or nine hundred people he can put them to a close-up. This tableau we still see in theatre sitting as a design in a particular frame but here you can break that frame, you can go closer and he can focus your attention on just a little point here and a gesture here, and a gesture there and you know, on stage you will have to show with a torch yet it won’t be visible. Amol Palekar The point is …..Obviously two points come to my mind. First and foremost, suppose you are able to do it, and you are able to hold the audience then why not. The question is – yes, you do it for two hours, just keep one tableau and somebody the off sound is there. If that can hold then I think it will be a perfect valid theatre, why not? Bimal Lath Could it be that we can make 10 plays the same way? Amol Palekar Yes, why not? In fact I think on this issue I will say something which will immediately start a big fight so I will purposely started not for the sake of fight but because I believe in it also. -
List of Empanelled Artist
INDIAN COUNCIL FOR CULTURAL RELATIONS EMPANELMENT ARTISTS S.No. Name of Artist/Group State Date of Genre Contact Details Year of Current Last Cooling off Social Media Presence Birth Empanelment Category/ Sponsorsred Over Level by ICCR Yes/No 1 Ananda Shankar Jayant Telangana 27-09-1961 Bharatanatyam Tel: +91-40-23548384 2007 Outstanding Yes https://www.youtube.com/watch?v=vwH8YJH4iVY Cell: +91-9848016039 September 2004- https://www.youtube.com/watch?v=Vrts4yX0NOQ [email protected] San Jose, Panama, https://www.youtube.com/watch?v=YDwKHb4F4tk [email protected] Tegucigalpa, https://www.youtube.com/watch?v=SIh4lOqFa7o Guatemala City, https://www.youtube.com/watch?v=MiOhl5brqYc Quito & Argentina https://www.youtube.com/watch?v=COv7medCkW8 2 Bali Vyjayantimala Tamilnadu 13-08-1936 Bharatanatyam Tel: +91-44-24993433 Outstanding No Yes https://www.youtube.com/watch?v=wbT7vkbpkx4 +91-44-24992667 https://www.youtube.com/watch?v=zKvILzX5mX4 [email protected] https://www.youtube.com/watch?v=kyQAisJKlVs https://www.youtube.com/watch?v=q6S7GLiZtYQ https://www.youtube.com/watch?v=WBPKiWdEtHI 3 Sucheta Bhide Maharashtra 06-12-1948 Bharatanatyam Cell: +91-8605953615 Outstanding 24 June – 18 July, Yes https://www.youtube.com/watch?v=WTj_D-q-oGM suchetachapekar@hotmail 2015 Brazil (TG) https://www.youtube.com/watch?v=UOhzx_npilY .com https://www.youtube.com/watch?v=SgXsRIOFIQ0 https://www.youtube.com/watch?v=lSepFLNVelI 4 C.V.Chandershekar Tamilnadu 12-05-1935 Bharatanatyam Tel: +91-44- 24522797 1998 Outstanding 13 – 17 July 2017- No https://www.youtube.com/watch?v=Ec4OrzIwnWQ -
AXC Instructions / ૂચના
AXC PROVISIONAL ANSWER KEY (CBRT) Name of the post Assistant Professor, Drama in Gov. Arts, Sci. & Commerce College, Class-2 Advertisement No. 69/2020-21 Preliminary Test held on 20-08-2021 Question No 001 – 300 Publish Date 21-08-2021 Last Date to Send Suggestion(s) 28-08-2021 THE LINK FOR ONLINE OBJECTION SYSTEM WILL START FROM 22-08-2021; 04:00 PM ONWARDS Instructions / ચનાૂ Candidate must ensure compliance to the instructions mentioned below, else objections shall not be considered: - (1) All the suggestion should be submitted through ONLINE OBJECTION SUBMISSION SYSTEM only. Physical submission of suggestions will not be considered. (2) Question wise suggestion to be submitted in the prescribed format (proforma) published on the website / online objection submission system. (3) All suggestions are to be submitted with reference to the Master Question Paper with provisional answer key (Master Question Paper), published herewith on the website / online objection submission system. Objections should be sent referring to the Question, Question No. & options of the Master Question Paper. (4) Suggestions regarding question nos. and options other than provisional answer key (Master Question Paper) shall not be considered. (5) Objections and answers suggested by the candidate should be in compliance with the responses given by him in his answer sheet. Objections shall not be considered, in case, if responses given in the answer sheet /response sheet and submitted suggestions are differed. (6) Objection for each question should be made on separate sheet. Objection for more than one question in single sheet shall not be considered. ઉમેદવાર નીચેની ૂચનાઓું પાલન કરવાની તકદાર રાખવી, અયથા વાંધા- ૂચન ગે કરલ રૂઆતો યાને લેવાશે નહ (1) ઉમેદવાર વાંધાં- ૂચનો ફત ઓનલાઈન ઓશન સબમીશન સીટમ ારા જ સબમીટ કરવાના રહશે. -
Badal Sircar
Badal Sircar Scripting a Movement Shayoni Mitra The ultimate answer [...] is not for a city group to prepare plays for and about the working people. The working people—the factory workers, the peasants, the landless laborers—will have to make and perform their own plays. [...] This process of course, can become widespread only when the socio-economic movement for emancipation of the working class has also spread widely. When that happens the Third Theatre (in the context I have used it) will no longer have a separate function, but will merge with a transformed First Theatre. —Badal Sircar, 23 November 1981 (1982:58) It is impossible to discuss the history of modern Indian theatre and not en- counter the name of Badal Sircar. Yet one seldom hears his current work talked of in the present. How is it that one of the greatest names, associated with an exemplary body of dramatic work, gets so easily lost in a haze of present-day ignorance? While much of his previous work is reverentially can- onized, his present contributions are less well known and seldom acknowl- edged. It was this slippage I set out to examine. I expected to find an ailing man reminiscing of past glories. I was warned that I might find a cynical per- son, an incorrigible skeptic weary of the world. Instead, I encountered an in- domitable spirit walking along his life path looking resolutely ahead. A kind old man who drew me a map to his house and saved tea for me in a thermos. A theatre person extraordinaire recounting his latest workshop in Laos, devis- ing how to return as soon as possible. -
MA BENGALI SYLLABUS 2015-2020 Department Of
M.A. BENGALI SYLLABUS 2015-2020 Department of Bengali, Bhasa Bhavana Visva Bharati, Santiniketan Total No- 800 Total Course No- 16 Marks of Per Course- 50 SEMESTER- 1 Objective : To impart knowledge and to enable the understanding of the nuances of the Bengali literature in the social, cultural and political context Outcome: i) Mastery over Bengali Literature in the social, cultural and political context ii) Generate employability Course- I History of Bengali Literature (‘Charyapad’ to Pre-Fort William period) An analysis of the literature in the social, cultural and political context The Background of Bengali Literature: Unit-1 Anthologies of 10-12th century poetry and Joydev: Gathasaptashati, Prakitpoingal, Suvasito Ratnakosh Bengali Literature of 10-15thcentury: Charyapad, Shrikrishnakirtan Literature by Translation: Krittibas, Maladhar Basu Mangalkavya: Biprodas Pipilai Baishnava Literature: Bidyapati, Chandidas Unit-2 Bengali Literature of 16-17th century Literature on Biography: Brindabandas, Lochandas, Jayananda, Krishnadas Kabiraj Baishnava Literature: Gayanadas, Balaramdas, Gobindadas Mangalkabya: Ketakadas, Mukunda Chakraborty, Rupram Chakraborty Ballad: Maymansinghagitika Literature by Translation: Literature of Arakan Court, Kashiram Das [This Unit corresponds with the Syllabus of WBCS Paper I Section B a)b)c) ] Unit-3 Bengali Literature of 18th century Mangalkavya: Ghanaram Chakraborty, Bharatchandra Nath Literature Shakta Poetry: Ramprasad, Kamalakanta Collection of Poetry: Khanadagitchintamani, Padakalpataru, Padamritasamudra -
A Complete Profile of Rangroop
MMMAJOR PRODUCTIONS OF RANGRANG----ROOPROOP SINCE THE INCEPTION: Total Name Of The Year No. Of Drama By Directed By Production Shows 1969-70 Michhil 12 Goutam Mukherjee Goutam Mukherjee 1972-73 Akay Akay Sunya 9 Goutam Mukherjee Goutam Mukherjee 1979-80 Kanthaswar 151 Goutam Mukherjee Goutam Mukherjee Sanskrit play: Banabhatta; Adaptation : 1982-83 Kadambari 50 Goutam Mukherjee Dr. K.K. Chakraborty Story: Subodh Ghosh 1984-85 Andhkarer Rang 62 Script: Sima Mukherjee Goutam Mukherjee Story: O’Henry Do. Prahasan 62 Script: K.K. Chakraborty Goutam Mukherjee Story: O’Henry 1987-88 Clown 110 Script: K.K. Chakraborty Goutam Mukherjee 1988-89 Bikalpa 74 Sima Mukhopadhyay Goutam Mukherjee Dwijen Banerjee & 1991-92 Bhanga Boned 130 Sima Mukhopadhyay Saonli Mitra 1992-93 Tringsha Shatabdi 5 Badal Sarkar Kaliprosad Ghosh 1993-94 Boli 11 Tripti Mitra Sima Mukhopadhyay 1994-95 Je Jan Achhey 187 Sima Mukhopadhyay Sima Mukhopadhyay Majhkhane Sima Mukhopadhyay 1996-97 24 Abanindranath Tagore Aalor Phulki & K K Mukhopadhyay Panu Santi Sima Mukhopadhyay Krishna Kishore 1998-99 53 Cheyechhilo (Story: Ramanath Roy) Mukhopadhyay 1999- Aaborto 27 Sima Mukhopadhyay Sima Mukhopadhyay 2000 2000-01 Sunyapat 34 Sima Mukhopadhyay Sima Mukhopadhyay Drama: Olwen Wymark 2002-03 Khnuje Nao 37 Adaptation: Swatilekha Sengupta Rudraprasad Sengupta Je Jan Achhey 2003-04 Majhkhane 32 Sima Mukhopadhyay Sima Mukhopadhyay (Revive) 2004-05 Sesh Raksha 38 Rabindranath Tagore Sima Mukhopadhyay Sima Mukhopadhyay 2005-06 He Mor Debota 10 (Story: Deborshee Sima Mukhopadhyay Saroghee) -
EVAM INDRAJIT by Badal Sircar
EVAM INDRAJIT By Badal Sircar (PART – 1) ABOUT THE AUTHOR Indroduction Badal Sircar (15 July 1925–13 May 2011), also known as Badal Sarkar, was an influential Indian dramatist and theatre director. He is mostly known for his anti-establishment plays during the Naxalite movement in the 1970s. He took theatre out of the proscenium and into public arena, when he founded his own theatre company, Shatabdi in 1976. He wrote more than fifty plays of which Ebong Indrajit, Basi Khabar, and Saari Raat are well known literary pieces. As a theorist and philosopher of Indian theatre, Sircar opened up the discourse to include concerns with democratic human interaction and a search for a more just and equitable society. As a mentor and teacher, he travelled widely across the country holding workshops which had a deep impact on hundreds of theatre workers, including some major directors. Education Sircar was initially schooled at the Scottish Church Collegiate School, Kolkata. After transferring from the Scottish Church College, he studied civil engineering at the Bengal Engineering College (now IIEST), Shibpur, Howrah then affiliated with the University of Calcutta. In 1992, he finished his Master of Arts degree in comparative literature from the Jadavpur University in Kolkata. Career While Sircar was working as a town planner in India, England and Nigeria, he entered theatre as an actor, moved to direction, but soon started writing plays, starting with comedies. He experimented with theatrical environments such as stage, costumes and presentation and established a new genre of theatre called "Third Theatre". In Third Theatre approach, he created a direct communication with audience and emphasised on expressionist acting along with realism. -
Question Discussion – 20.05.2015 to 26.05.2015
QUESTION DISCUSSION – 20.05.2015 TO 26.05.2015 QUESTION DISCUSSION 20.05.2015 TO 26.05.2015 7. Odisha Transmission System Improvement Project will receive Rs. 1. Consider the following 1165 cr. ODA from 1. Union Finance Minister has (a) USA (b) France declared the Gold Monetisation (c) Israel (d) Russia Scheme in the Budget 2015-16. (e) Japan 2. It allow individuals to deposit gold 8. Laszlo Krasznahozkai who won the as low as 30 grams in Banks. Britain’s Man Booker International 3. India is the 2nd largest gold Prize recently is from importer in the world & import (a) Czech Republic (b) Hungary 97% of its gold. (c) Italy (d) France 4. It will help growth in GDP. (e) England Which is/are true? 9. Which country has recently declared to (a) 1 & 2 (b) 1, 2 & 3 have mastered Nuclear weapon (c) 2, 3 & 4 (d) 1, 3 & 4 technology (e) 1, 2, 3 & 4 (a) Libya (b) Syria 2. Indian Navy has launched an anti- (c) North Korea (d) Iran submarine warfare ship recently named (e) None of these (a) Kanchan (b) Kavaratti 10. Peter M. Christian was elected as the (c) Sankuch (d) Magar new president of the Federated states (e) Sishumar of 3. UP and MP are on war path over (a) Palace (b) Micronesia sharing the water from the Bansagar (c) Hungary (d) Handuras dam across which never (e) Bolivia (a) Sone (b) Yamuna 11. The new Service Tax rate of 14% will (c) Luni (d) Ganga come into force from (e) Narmada (a) 1st June (b) 1st July 4. -
National School of D School of Drama
NATIONAL SCHOOL OF D RAMA Bahawalpur House 1, Bhagwandas Road, New Delhi – 110 001 Phone : 011-23389402 Email: [email protected] , [email protected] Website : http://nsd.gov.in The National School of Drama is one of the foremost theatre training institutions in the world and the only one of its kind in India. It was set up by the Sangeet Natak Akademi as one of its constituent units in 1959. In 1975, it became an independent entity and was registered as an autonomous organization under the Societies Registration Act XXI of 1860, fully financed by the Ministry of Culture, Government of India. Training in the School is highly intensive and is based on a thorough, comprehensive, carefully planned syllabus which covers every aspect of theatre and in which theory is related to practice. As a part of their training, students are required to produce plays which are then performed before the public. The syllabus takes into account the methods of great theatre personalities who have shaped c ontemporary theatre in all its variety. The systematic study and practical performing experience of Sanskrit drama, modern Indian drama, traditional Indian theatre forms, Asian drama and western dramatic protocols give the students a solid grounding and a wide perspective in the art of theatre. Besides its 3-year training programme, the School has also explored new vistas in the areas of children’s theatre and decentralization of theatre training through workshops under the Extension Programme. The School h as two performing wings – the Repertory Company an d Theatre- in-Education Company. -
Foojf.Kdk ROSPECTUS Ear Residentialcer Course Indramaticar Tificate
ROSPECTUS NSD SIKKIM one year residential certificate foojf.kdkcourse in dramatic arts 2020 NSD SIKKIMGovt. of Sikkim has allotted a piece of land to National School of Drama, Sikkim in 2019 to establish its own permanent infrastructure at Assam Lingzey Forest Block, near Gangtok. Front cover photo: Letter of allotment of the land Kalidasa’s Abhijnan Shakuntalam, Official Map of the land Dir. Piyal Bhattacharya, (Student’s Production, 2019) Way to Saurani Phatak Land of Social Justice & Welfare Dept. Private Holding ICDS Centre Private Holding Govt. of Sikkim Land position in Private Holding the Google Map Kanchanjangha Peak Contents 3 National School of Drama, New Delhi 4 Former Chairpersons & Directors of NSD 5 National School of Drama, Sikkim 6 The Chairman, NSD Society 7 The Director, NSD 8 The Centre In-charge, NSD 9 The Centre Director, NSD Sikkim 11 The Vision & Objectives of NSD, Sikkim 12 Subjects of Study 14 Syllabus 16 Annual Activity Report 18 Visiting Faculty Members 19 Admission Related Matters 22 General Information 24 NSD Sikkim Repertory Company 26 Administrative & Technical Staff 28 Theatre Festivals Location & Travel Route English C3 Hami Nai Aafai Aaf, a dramatisation of Padma Sachdev’s Dogri Novel Ab Na Banegi Dehri, Dir. Bipin Kumar (Students/Repertory Production, 2011/12) National School of Drama ational School of Drama is one of the foremost theatre training institutions in the world and the Nonly one of its kind in India. Established in 1959 as a constituent unit of the Sangeet Natak Akademi, the School became an independent entity in 1975 and was registered as an autonomous organization under Societies Registration Act XXI of 1860, fully financed by the Ministry of Culture, Government of India. -
Download (5.57
c m y k c m y k Registered with the Registrar of Newspapers of India: Regd. No. 14377/57 CONTRIBUTORS Aziz Quraishi Diwan Singh Bajeli Dr. M. Sayeed Alam Feisal Alkazi Geeta Nandakumar Rana Siddiqui Zaman Salman Khurshid Suresh K Goel Suresh Kohli Tom Alter Indian Council for Cultural Relations Phone: 91-11-23379309, 23379310, 23379314, 23379930 Fax: 91-11-23378639, 23378647, 23370732, 23378783, 23378830 E-mail: [email protected] Web Site: www.iccrindia.net c m y k c m y k c m y k c m y k Indian Council for Cultural Relations The Indian Council for Cultural Relations (ICCR) was founded on 9th April 1950 by Maulana Abul Kalam Azad, the first Education Minister of independent India. The objectives of the Council are to participate in the formulation and implementation of policies and programmes relating to India’s external cultural relations; to foster and strengthen cultural relations and mutual understanding between India and other countries; to promote cultural exchanges with other countries and people; to establish and develop relations with national and international organizations in the field of culture; and to take such measures as may be required to further these objectives. The ICCR is about a communion of cultures, a creative dialogue with other nations. To facilitate this interaction with world cultures, the Council strives to articulate and demonstrate the diversity and richness of the cultures of India, both in and with other countries of the world. The Council prides itself on being a pre-eminent institution engaged in cultural diplomacy and the sponsor of intellectual exchanges between India and partner countries. -
GK Digest 2015 This Was Part of PM Modi’S Visit to Three Indian Ocean Island Countries
www.BankExamsToday.com www.BankExamsToday.com www.BankExamsToday.com GKBy Ramandeep Singh Digest 2015 my pc [Pick the date] www.BankExamsToday.com GK DigestIndex 2015 List of Prime Minister’s Foreign visits 2-5 MoUs signed between India and Korea 5-14 List of Countries - Their Capital, Currency and Official Language 14-20 Popular Governmentwww.BankExamsToday.com Welfare Schemes 20-21 Awards and Honours in India – 2014 22 Awards and Honours in India 2015 23-30 Appointments 30-40 List of Committees in India 2015 40 International Summits in 2015 List 41-43 People in News During August 2015 43-45 Deaths 45-51 International Military Training Exercises 51-52 List of Cabinet Minister as on 30.11.2014 53-54 Union Budget 2015-16 54-58 Ministers and their constituencies 58-59 Important Indian Organizations and their Heads 59-60 Mergers and Acquisitions - Explained in Simple Language 60-62 List of Latest schemes and apps launched by banks 2015 63 Important Parliamentary Acts related to Banking sector in India 63-65 List of important days for banking and insurance exams 65-66 List of important days, useful for general awareness Section of banking exams 66-68 Important days to remember for August, September and October 68-69 Indian States - Capital - Chief Minister (CM) - Governor 69-72 List of important International Organizations with their headquarters, foundation years, heads and purpose 72-75 Wilf Life Sanctuaries in India 75-81 Indian Cities on the Bank of Important Rivers 82-83 List of national parks of India 83-88 Important Airports 89 IMPORTANT TEMPLES OF INDIA 90-97 LIST OF IMPORTANT CUPS AND TROPHIES – SPORTS 98-99 UNESCO HERITAGE SITES 99-127 Must Know Articles of Indian Constitution 128-132 Important Fairs 133-134 World Major Space Centers 134 www.BankExamsToday.com Page 2 www.BankExamsToday.com List of PrimeGK Minister’sDigest 2015 Foreign visits State Visit to Bhutan (June 15-16, 2014): At the invitation of Shri Jigme Khesar Namgyel Wangchuck, the King of Bhutan, Shri Narendra Modi paid a State Visit to Bhutan from 15-16 June 2014.