Signature and Name of Invigilator OMR 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. D6 5 0 8 PAPERII 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 1. ÂãÜðU ÂëDU ·ð¤ ª¤ÂÚU çÙØÌ SÍæÙ ÂÚU ¥ÂÙæ ÚUôÜU ÙÕÚU çÜç¹°Ð this page. 2. §â ÂýàÙ-Âæ ×𢠿æâ Õãéçß·¤ËÂèØ ÂýàÙ ãñ¢Ð 2. This paper consists of fifty multiple-choice type of questions. 3. ÂÚUèÿææ ÂýæÚUÖ ãôÙð ÂÚU, ÂýàÙ-ÂéçSÌ·¤æ ¥æ·¤ô Îð Îè ÁæØð»èÐ ÂãÜðU ÂUæ¡¿ ç×ÙÅU 3. At the commencement of examination, the question booklet will be given to you. In the first 5 minutes, you are ¥æ·¤ô ÂýàÙ-ÂéçSÌ·¤æ ¹ôÜÙð ÌÍæ ©â·¤è çÙÙçÜç¹Ì Áæ¡¿ ·ð¤ çÜ° çÎØð requested to open the booklet and compulsorily examine it ÁæØð¢»ð çÁâ·¤è Áæ¡¿ ¥æ·¤ô ¥ßàØ ·¤ÚUÙè ãñ Ñ 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 âèÜ ·¤ô ȤæǸU Üð¢UÐ ¹éÜè ãé§ü Øæ çÕÙæ SÅUè·¤ÚU-âèÜU ·¤è ÂéçSÌ·¤æ paper seal on the edge of this cover page. Do not Sßè·¤æÚU Ù ·¤Úð¢UÐ accept a 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 (ii) Tally the number of pages and number of questions â¢Øæ ·¤ô ¥ÀUè ÌÚUã ¿ñ·¤ ·¤ÚU Üð¢U ç·¤ Øð ÂêÚðU ãñ¢UÐ ÎôáÂêæü ÂéçSÌ·¤æ in the booklet with the information printed on the çÁÙ×ð¢ ÂëDU / ÂýàÙ ·¤× ãô¢ Øæ ÎéÕæÚUæ ¥æ »Øð ãô¢ Øæ âèçÚUØÜU ×ð¢ Ù ãô¢ cover page. Faulty booklets due to pages/questions ¥ÍæüÌ ç·¤âè Öè Âý·¤æÚU ·¤è æéçÅUÂêæü ÂéçSÌ·¤æ Sßè·¤æÚU Ù ·¤Úð¢U ÌÍæ missing or duplicate or not in serial order or any ©âè â×Ø ©âð ÜUõÅUæ·¤ÚU ©â·ð¤ SÍæÙ ÂÚU ÎêâÚUè âãè ÂýàÙ-ÂéçSÌ·¤æ other discrepancy should be got replaced immediately Üð Üð¢Ð U §â·ð¤ çÜ° ¥æ·¤ô Âæ¡¿ ç×ÙÅU çÎØð ÁæØð¢»ðÐ ©â·ð¤ ÕæÎ Ù by a correct booklet from the invigilator within the period of 5 minutes. Afterwards, neither the question Ìô ¥æ·¤è ÂýàÙ-ÂéçSÌ·¤æ ßæÂâ Üè ÁæØð»è ¥õÚU Ù ãè ¥æ·¤ô booklet will be replaced nor any extra time will be ¥çÌçÚUQ¤ â×Ø çÎØæ ÁæØð»æÐ given. (iii) §â Áæ¡¿ ·ð¤ ÕæÎ ÂýàÙ-ÂéçSÌ·¤æ ·¤è R¤× â¢Øæ OMR Âæ·¤ ÂÚU (iii) After this verification is over, the Test Booklet Number ¥¢ç·¤Ì ·¤Úð¢U ¥UõÚU OMR Âæ·¤ ·¤è R¤×¤â¢Øæ §â ÂýàÙ-ÂéçSÌ·¤æ ÂÚU should be entered in the OMR Sheet and the ¥¢ç·¤Ì ·¤ÚU Îð¢Ð OMR Sheet Number should be entered on this Test Booklet. 4. ÂýØð·¤ ÂýàÙ ·ð¤ çÜ° ¿æÚU ©æÚU çß·¤Ë (A), (B), (C) ÌÍæ (D) çÎØð »Øð ãñ¢Ð 4. Each item has four alternative responses marked (A), (B), ¥æ·¤ô âãè ©æÚU ·ð¤ Îèæüßëæ ·¤ô ÂðÙ âð ÖÚU·¤ÚU ·¤æÜæ ·¤ÚUÙæ ãñ Áñâæ ç·¤ Ùè¿ð (C) and (D). You have to darken the oval as indicated çιæØæ »Øæ ãñÐ below on the correct response against each item. ©ÎæãÚUæ Ñ A B C D Example : A B C D ÁÕç·¤ (C) âãè ©æÚU ãñÐ where (C) is the correct response. 5. ÂýàÙô¢ ·ð¤ ©æÚU ·ð¤ßÜU ÂýàÙ Âæ I ·ð¤ ¥ÎÚU çÎØð »Øð ©æÚU-Âæ·¤ ÂÚU ãè ¥¢ç·¤Ì 5. Your responses to the items are to be indicated in the Answer ·¤ÚUÙð ãñ¢Ð ØçÎ ¥æ ©æÚU Âæ·¤ ÂÚU çÎØð »Øð Îèæüßëæ ·ð¤ ¥Üæßæ ç·¤âè ¥Ø Sheet given inside the Paper I booklet only. If you mark SÍæÙ ÂÚU ©æÚU ç¿ãæ¢ç·¤Ì ·¤ÚUÌð ãñ, Ìô ©â·¤æ ×êËUØ梷¤Ù Ùãè¢ ãô»æÐ at any place other than in the ovals in the Answer Sheet, it will not be evaluated. 6. ¥ÎÚU çÎØð »Øð çÙÎðüàæô¢ ·¤ô ØæÙÂêßü·¤ Âɸð¢UÐ 6. Read instructions given inside carefully. 7. ·¤ææ ·¤æ× (Rough Work) §â ÂéçSÌ·¤æ ·ð¤ ¥çÌ× ÂëDU ÂÚU ·¤Úð¢UÐ 7. Rough Work is to be done in the end of this booklet. 8. ØçÎ ¥æ ©æÚU-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 Âã¿æÙ ãô â·ð¤, ¤ç·¤âè Öè Öæ» ÂÚU ÎàææüÌð Øæ ¥¢ç·¤Ì ·¤ÚUÌð ãñ¢ Ìô ÂÚUèÿææ ·ð¤ test booklet, except for the space allotted for the relevant çÜØð ¥ØôØ æôçáÌ ·¤ÚU çÎØð ÁæØð¢»ðÐ entries, which may disclose your identity, you will render yourself liable to disqualification. 9. ¥æ·¤ô ÂÚUèÿææ â×æ# ãôÙð ¤ÂÚU ©æÚU-ÂéçSÌ·¤æ çÙÚUèÿæ·¤ ×ãôÎØ ·¤ô ÜUõÅUæÙæ 9. You have to return the test question booklet to the ¥æßàØ·¤ ãñ ¥õÚU ÂÚUèÿææ â×æç# ·ð¤ ÕæÎ ¥ÂÙð âæÍ ÂÚUèÿææ ÖßÙ âð ÕæãÚU Ù invigilators at the end of the examination compulsorily Üð·¤ÚU ÁæØð¢Ð and must not carry it with you outside the Examination 10. ·ð¤ßÜ ÙèÜð / ·¤æÜð ÕæÜU ßæ§ZÅU ÂñÙ ·¤æ ãè §SÌð×æÜ ·¤Úð¢UÐ Hall. 11. ç·¤âè Öè Âý·¤æÚU ·¤æ ⢻淤 (·ñ¤Ü·é¤ÜðÅUÚU) UØæ Üæ» ÅðUÕÜ ¥æçÎ ·¤æ 10. Use only Blue/Black Ball point pen. 11. Use of any calculator or log table etc., is prohibited. ÂýØô» ßçÁüÌ ãñÐ 12. There is NO negative marking. 12. »ÜÌ ©æÚU ·ð¤ çÜ° ¥¢·¤ Ùãè¢ ·¤æÅðU ÁæØð¢»ðÐ See Page No. 2 and 3 for Special Instructions / çßàæðá âê¿Ùæ¥æð´ ·ð¤ çÜ° ÂëcÆ â´Øæ 2 ¥æñÚ 3 Îð¹ð´Ð D6508 1 P.T.O. DANCE / DRAMA / THEATRE PAPERII 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.
PARTI
Common to Dance and Drama / Theatre
1. Match List I with List II : List I List II (a) Vijay Tendulker (i) Evam Indrajit (b) Badal Sarkar (ii) Kamala (c) Shrimati Rukminidevi Arundel (iii) Ramayan (d) Chandralekha (iv) Leelavati Code : (a) (b) (c) (d) (A) (ii) (i) (iii) (iv) (B) (iv) (iii) (i) (ii) (C) (iii) (ii) (iv) (i) (D) (i) (iv) (ii) (iii)
2. The dance was ancillary to drama in : (A) Manasallas
(B) Sahitya Darpan. (C) Natyashastra (D) Abhinaya chandrika
D6508 2 ÙëØ / ÙæÅ·¤ / Ú´»×´¿ ÂýàÙÂæII çßàæðá âê¿Ùæ°¡ 1. ÂÚèÿææÍèü Öæ»-I ·ð¤ âÖè 25 ÂýàÙæ𴠷𤠩æÚ Îð´Ð Øã Öæ» ¥çÙßæØü ãñÐ ÂÚèÿææÍèü Öæ»-II ¥æñÚ Öæ»-III ×ð´ âð ç·¤âè °·¤ Öæ» ·ð¤ âÖè 25 ÂýàÙæ𴠷𤠩æÚ Îð´Ð ÂýØð·¤ ÂýàÙ ·ð¤ Îæð ¥´·¤ ãñ´Ð 2. ÂÚèÿææÍèü ¥ÂÙè ¿ØçÙÌ Öæ» ·¤æð OMR ©æÚ Âæ ×ð´ SÂcÅ M¤Â âð ¥´ç·¤Ì ·¤Úð´Ð
PARTI
Common to Dance and Drama / Theatre
1. ÂýÎæ ·¤æðÇU ·ð¤ ¥æÏæÚU ÂÚU âê¿è I ·¤æ âê¿è II âð ç×ÜæÙ ·¤èçÁ°Ð
âê¿è I âê¿è II
(a) çßÁØ Ì´ÎêÜ·¤ÚU (i) °ß× §ÎýÁèÌ
(b) ÕæÎÜ âÚU·¤æÚU (ii) ·¤×Üæ
(c) M¤·¤ç×ÙèÎðßè ¥L´¤ÇðUÜ (iii) ÚUæ×æØæ
(d) ¿ÎýÜð¹æ (iv) ÜèÜæßÌè ·¤æðÇU Ñ
(a) (b) (c) (d) (A) (ii) (i) (iii) (iv) (B) (iv) (iii) (i) (ii) (C) (iii) (ii) (iv) (i) (D) (i) (iv) (ii) (iii)
2. ÙëØ ç·¤â×ð´ ÙæÅK ·¤æ °·¤ ¥Ùéá´»è Öæ» ÍæÐ
(A) ×æÙâæðæâ (B) âæçãØÎÂüæ
(C) ÙæÅKàææ (D) ¥çÖÙØ ¿´çÎý·¤æ
D6508 3 P.T.O. 3. Match the List I with List II : List I List II (a) Japan (i) Raslila (b) Maharashtra (ii) Jatra (c) Vrindavan (iii) Noh (d) Bengal (iv) Bharud Code : (a) (b) (c) (d) (A) (iii) (iv) (i) (ii) (B) (ii) (i) (iv) (iii) (C) (i) (iii) (ii) (iv) (D) (iv) (ii) (iii) (i)
4. Assertion (A) : An actor must know music, dance and theatre arts to be whole. Reason (R) : An actor must learn the dance of Bharata, Bharatanatyam. (A) (A) is true (R) is false (B) (A) is true (R) is true (C) (A) is false (R) is true (D) (A) is false (R) is false
5. Grish Karnad has got Gyanpeeth Award as a. (A) Singer (B) Play write (C) Actor (D) None of the above
6. The popular and long running plays are : (A) Ghasiram Kotwal (B) Charandas Chor (C) Haya Vadana (D) All of above
7. Which one is not correctly matched : (A) ICCR Dr. Karan Singh (B) Kalakshetra Smt. Rukmini Devi (C) SNA Shri R. N. Mirdha (D) Sopanam Kovalan Panikar Narayan
D6508 4 3. âê¿è I ·¤è âê¿è II ·ð¤ âæÍ âé×ðçÜÌ ·¤Úð´UÐ âê¿è I âê¿è II (a) ÁæÂæÙ (i) ÚUæâÜèÜæ (b) ×ãæÚUæCþ (ii) Áæææ (c) ßëÎæßÙ (iii) Ùæðã (d) Õ´»æÜ (iv) ÖM¤Ç¸ ·¤æðÇU Ñ (a) (b) (c) (d) (A) (iii) (iv) (i) (ii) (B) (ii) (i) (iv) (iii) (C) (i) (iii) (ii) (iv) (D) (iv) (ii) (iii) (i)
4. ¥çÖ·¤ÍÙ (A) : °·¤ ÙÅU ·¤æð â´Âêæü ãUæðÙð ·ð¤ çÜØð â´»èÌ ÙëØ, ÙæÅK ·¤Üæ° ÁæÙÙè ¿æçã°Ð Ì·ü¤ (R) : °·¤ ÙÅU ·¤æð ÖæÚUÌ ·¤æ ÙëØ ÖÚUÌÙæÅK×÷ çâ¹Ùæ ¥æßàØ·¤ ãñÐ (A) (A) âãè ãñ ÂÚUÌé (R) »ÜÌ ãñÐ (B) (A) âãè ãñ ¥æñÚU (R) âãè ãñÐ (C) (A) »ÜÌ ãñ (R) âãè ãñÐ (D) (A) »ÜÌ ãñ (R) »ÜÌU ãñÐ
5. ç»ÚUèàæ ·¤ÙüǸ ·¤æð ææÙÂèÆU ÂéÚUS·¤æÚU ç·¤â ÙæÌð ç×ÜæÐ (A) »æØ·¤ (B) ÙæÅU·¤·¤æÚU (C) ¥çÖÙðÌæ (D) ©ÂØéüQ¤ ×ð´ âð ·¤æð§ü Ùãè´Ð
6. Âý¿çÜÌ ¥æñÚU Ü´Õð ¿ÜÙðßæÜð ÙæÅU·¤ ãñÐ (A) ææâèÚUæ× ·¤æðÌßæÜ (B) ¿ÚUÙÎæâ ¿æðÚU (C) ãØßÎÙ (D) ©ÂÚU ·ð¤ âÕ
7. ·¤æñÙâæ Øé× âãè Ùãè ãñ? (A) ¥æ§ü. âè. âè. ¥æÚU - ÇUæð. ·¤ÚUÙ âè´» (B) ·¤Üæÿæðæ - æè×Ìè L¤·¤ç×æèÎðßè (C) â´Ù¥ - æè ¥æÚU. °Ù. ×èÏæü (D) âæðÂæÙ×÷ - ·¤æðßÜÙ Âææè·¤ÚU ÙæÚUæØæ
D6508 5 P.T.O. 8. Match List I with List II : List I List II (a) France (i) Opera (b) Italy (ii) Wayang (c) Java (iii) Odori (d) Japan (iv) Comedylaarte Code : (a) (b) (c) (d) (A) (iv) (i) (ii) (iii) (B) (i) (iv) (ii) (iii) (C) (iv) (ii) (i) (iii) (D) (iv) (ii) (iii) (i)
9. Kittappa Pillai is an exponent of : (A) Kuchipudi (B) Manipuri (C) Bharatha Natyam (D) Kathakali
10. Which one is not correctly matched ? (A) Pravir Guha Theatre (B) Vallathole Kalamandalam (C) Birju Maharaj Kathak (D) Mani Rathnam Sculpture
11. West Zone cultural centre is sitiuated at : (A) Bangalore (B) Mumbai (C) Ahmedabad (D) Udaipur
12. The latest style where both dance and drama come together is called : (A) Ballet (B) Dance Drama (C) Opera (D) Dance Theatre
D6508 6 8. âê¿è I âð âê¿è II ·¤æ ×ðÜæÙ ·¤èçÁ°Ð âê¿è I âê¿è II (a) Èý¤æâ (i) ¥æðÂðÚUæ (b) §üÅUÜè (ii) ßæØæÙæ (c) Áæßæ (iii) ¥æðÎæðÚUè (d) ÁæÂæÙ (iv) ·¤æðð×ðÇUè-Üæ-¥æÌü ·¤æðÇU Ñ (a) (b) (c) (d) (A) (iv) (i) (ii) (iii) (B) (i) (iv) (ii) (iii) (C) (iv) (ii) (i) (iii) (D) (iv) (ii) (iii) (i)
9. ç·¤Å÷UÅUæÂæ çÂËÜð 緤⠷ð¤ ÂýßÌü·¤ ãñ? (A) ·é¤ç¿ÂéǸè (B) ×çæÂêÚUè (C) ÖÚUÌ ÙæÅK× (D) ·¤Íæ·¤Üè
10. ·¤æñÙâæ âãè ×ðçÜÌ ãñ? (A) ÂýßèÚU »éãæ - ÚU´»×´¿ (B) ßæÌæðÜ - ·¤Üæ×´ÇUÜ×÷ (C) çÕÚUÁé ×ãæÚUæÁ - ·¤Í·¤ (D) ×çÙ ÚUÌÙæ× - çàæËÂ
11. Âçà¿×è ¥´¿Ü ·¤æ âæ´S·ë¤çÌ·¤ ·ð¤Îý ·¤ãæ´ çSÍÌ ãñ? (A) Õ´»ÜæñÚU (B) ×é´Õ§ü (C) ¥ã×ÎæÕæÎ (D) ©ÎðÂéÚU
12. ¥çÌ ¥æÏéçÙ·¤ ÂhçÌ, Áãæ¡ ÙëØ ¥æñÚU ÙæÅU·¤ ·¤æ âÙßØ ãæðÌæ ãñ, ©âð ·¤ãÌð ãñÐ
(A) ÕðÜð
(B) ÙëØ-ÙæçÅU·¤æ
(C) ¥æðÂðÚUæ
(D) ÇUæâ-Íè°ÅUÚU
D6508 7 P.T.O. 13. Assertion (A) : Kathakali and Kabuki are both spectacular extrovert theatrical forms. Reason (R) : Both have their origin and development in Kerala. (A) (A) and (R) are true (B) (A) is true (R) is false (C) (A) and (R) are false (D) (A) is false (R) is true
14. Indicate the odd one out : (A) Giddha (B) Rasia (C) Ghoomar (D) Lavani
15. Assertion (A) : Movement of the Actors leads to composition. Reason (R) : Stage composition is very important to understand visual meaning of the scene (A) Both (A) and (R) are true (B) (A) is false and (R) is true (C) (A) is true and (R) is false (D) Both (A) and (R) are false
16. Bhrama played : (A) Mridangam (B) Talam (C) Thappu (D) Khanjeera
17. Bhagavatha Mela is performed in : (A) Chidhambaram (B) Thanjavur (C) Thirvvayaru (D) Melattul
D6508 8 13. ¥çÖ·¤ÍÙ (A) : ·¤Íæ·¤Üè ¥æñÚU ·¤æÕé·¤è ÎæðÙæð´ ÂýÖæßàææÜè Õçã×üé¹è Ú´U»×´¿èØ M¤Â ãñÐ
·¤æÚUæ (R) : ÎæðÙæð´ ·¤æ ©ÎÖß ¥æñÚU çß·¤æâ ·ð¤ÚUÜ ×ð´ ãé¥æ ãñÐ
(A) (A) ¥æñÚU (R) ÎæðÙæð´ âØ ãñÐ
(B) (A) âØ ãñ ¥æñÚU (R) ¥âØ ãñÐ
(C) (A) ¥æñÚU (R) ÎæðÙæð´ ¥âØ ãñÐ
(D) (A) ¥âØ ãñ ¥æñÚU (R) âØ ãñÐ
14. çßá× ·¤æð ¿éçÙ°´Ð
(A) »èÏæ (B) ÚUçâØæ
(C) æé×ÚU (D) ÜæßÙè
15. ¥çÖ·¤ÍÙ (A) : ¥çÖÙðÌæ¥æð´ ·¤è ¥´» â´¿æÜÙ »èÌ âð ÚU¿Ùæ Âêæü ãæðÌè ãñÐ
·¤æÚUæ (R) : ×´¿ âææ ·¤æ ÎëUçC·÷¤ ¥Íü â×ÛæÙð ·ð¤ çÜØð ×´¿ ·¤è ÚU¿Ùæ ¥æßàØ·¤ ãñÐ
(A) (A) ¥æñÚU (R) ÎæðÙæð´ âØ ãñÐ
(B) (A) ¥âØ ãñ ¥æñÚU (R) âØ ãñÐ
(C) (A) âØ ãñ ¥æñÚU (R) ¥âØ ãñÐ
(D) (A) ¥æñÚU (R) ÎæðÙæð´ ¥âØ ãñÐ
16. Õýræ Øæ ÕÁæÌð ãñ´?
(A) ×ëδ»× (B) ÌæÜ×
(C) ÍæÂé (D) ¹´ÁèÚUæ
17. Öæ»ßÌ ×ðÜæ ·¤è ÂýSÌéçÌ ·¤ãæ´ ·¤è ÁæÌè ãñ?
(A) ç¿ÎÕÚUÙ
(B) ÍæÙÁæßéÚU
(C) çÌM¤ÃØæL¤
(D) ×ðÜæ^äÜ
D6508 9 P.T.O. 18. Match items in List I with items in List II : List I List II (a) Aditi Mangaldas (i) Critic (b) Vaman Kendre (ii) Narthaki.com (c) Anita Ratnam (iii) Soofi Kathak (d) Kavita Nagpal (iv) Director Code : (a) (b) (c) (d) (A) (iii) (iv) (i) (ii) (B) (iii) (iv) (ii) (i) (C) (ii) (iii) (iv) (i) (D) (ii) (iv) (iii) (i)
19. Pick the odd one out : (A) Shovana Narayan (B) Sanjana Kapoor (C) Jayant Kastuvar (D) Rajendra Gangani
20. Which one is not correctly matched ? (A) Body balance Sculpture (B) Mind balance Harmony (C) Creativity Artistry (D) Performance Attitude
21. Which one is correct sequence ? (A) Kudiattam, Kathakali, Krishnattam, Ottan thullal (B) Ottan thullal, Kathakali, Krishnattam, Kudiattam (C) Krishnattam, Kudiattam, Ottan thullal, Kathakali (D) Krishnattam, Ottan thullal, Kudiattam, Kathakali
D6508 10 18. âê¿è I âð âê¿è II ·¤æ ç×ÜæÙ ·¤èçÁØð?
âê¿è I âê¿è II
(a) ¥çÎçÌ ×´»ÜÎæâ (i) ¥æÜæð¿·¤
(b) ßæ×Ù ·ð¤Îýð (ii) ÙÍü·¤è.·¤æð×
(c) ¥çÙÌæ ÚUÙ× (iii) âêÈ¤è ·¤Í·¤
(d) ·¤çßÌæ Ùæ»ÂæÜ (iv) çÙÎðüàæ·¤ ·¤æðÇU Ñ (a) (b) (c) (d) (A) (iii) (iv) (i) (ii) (B) (iii) (iv) (ii) (i) (C) (ii) (iii) (iv) (i) (D) (ii) (iv) (iii) (i)
19. çßá× ·¤æð ¿éÙèØðÐ
(A) àææßÙæ ÙæÚUæØæ (B) â´ÁÙæ ·¤ÂêÚU
(C) ÁØ´Ì ·¤SÌéßæÚU (D) ÚUæÁðÎý »´»ææè
20. ·¤æñÙ âæ Øé× âãè Ùãè´ ãñ?
(A) àæÚUèÚU â´ÌéÜÙ - çàæËÂ
(B) ×æÙçâ·¤ â´ÌéÜÙ - °·¤Ìæ
(C) âÁüÙæ×·¤Ìæ - ·¤Üæ×·¤Ìæ
(D) ·¤æØüR¤× - ¥çÖßëçæ
21. âãè R¤× ·¤æñÙâæ ãñ?
(A) ·é¤ÇUè¥æ^×÷, ·¤Í·¤Üè, ·ë¤cææ^×÷, ¥æð^Ù ÍéÜ
(B) ¥æð^Ù ÍêÜ, ·¤Í·¤Üè, ·ë¤cææ^×÷, ·é¤ÇUè¥æ^×÷
(C) ·ë¤cææ^×÷, ·é¤ÇUè¥æ^×÷, ¥æð^Ù ÍéÜ, ·¤Í·¤Üè
(D) ·ë¤cææ^×÷, ¥æð^Ù ÍéÜ, ·é¤ÇUè¥æ^×÷, ·¤Í·¤Üè
D6508 11 P.T.O. 22. Indicate the odd one out : The Components of Bharatha Nayam is : (A) Natuvangam (B) Mrudangam (C) Temple jewellary (D) Thappu
23. Pick the odd one out : The technical aspects of theatre is : (A) Set and Property (B) Costume and Makeup (C) Lighting (D) Building construction
24. Match the List I with List II : List I List II (a) Maharashtra (i) Burra Katha (b) Kerala (ii) Tamasha (c) Andhra Pradesh (iii) Chau (d) Orrissa (iv) Chavittu Natakam Code : (a) (b) (c) (d) (A) (ii) (iv) (i) (iii) (B) (iii) (i) (iv) (ii) (C) (i) (iii) (ii) (iv) (D) (iv) (ii) (iii) (i)
25. Match List I with List II : List I List II (a) Pina Bausch (i) USA (b) Alwin Nicolai (ii) Germany (c) Anton Chekhov (iii) France (d) Marcel Marsau (iv) Russia Code : (a) (b) (c) (d) (A) (i) (iii) (iv) (ii) (B) (i) (ii) (iii) (iv) (C) (ii) (i) (iii) (iv) (D) (ii) (i) (iv) (iii)
D6508 12 çßá× §´ç»Ì ·¤Úð´U? 22. ÖÚUÌ ÙæÅK× ·ð¤ â´æÅU·¤ ãñÐ (A) ÙÅ÷UÅéUß´»× (B) ×ëδ»× (C) ÅðUÂÜ ßðÜÚUè (D) ÍÂé
çßá× §´ç»Ì ·¤Úð´U? 23. Ú´U»×´¿ ·ð¤ Ì·¤Ùè·¤ ÂãÜé ãñÐ (A) âðÅU ß ÂýæðÂÅUèü (B) ·¤SÅUØê× ß ×ð·¤-¥Â (C) Üæ§çÅ´U» (D) çÕçËÇ´U» ·´¤âÅþUàæÙ
24. âê¿è I ·¤æð âê¿è II ·ð¤ âæÍ âé×ðçÜÌ ·¤Úð´U âê¿è I âê¿è II (a) ×ãæÚUæCþ (i) ÕéÚ÷UÚUæ ·¤Íæ (b) ·ð¤ÚUÜ (ii) Ì×æàææ (c) ¥æÏý ÂýÎðàæ (iii) ÀU檤 (d) ª¤Ç¸èâæ (iv) ÀUæçßÅ÷UÅéU ÙæÅU·¤×÷ ·¤æðÇU Ñ (a) (b) (c) (d) (A) (ii) (iv) (i) (iii) (B) (iii) (i) (iv) (ii) (C) (i) (iii) (ii) (iv) (D) (iv) (ii) (iii) (i)
25. âê¿è I ·¤æð âê¿è II ·ð¤ âæÍ âé×ðçÜÌ ·¤Úð´U âê¿è I âê¿è II (a) ÂèÙæ Õæ©àæ (i) Øê. °â. ° (b) ¥ÜßèÙ Ùè·¤æðÜæ§ü (ii) Á×üÙè (c) °ÅUæðÙ ¿ð¹æðß (iii) Èý´¤æâ (d) ×æâüÜ ×æâæðü (iv) ÚUçàæØæ ·¤æðÇU Ñ (a) (b) (c) (d) (A) (i) (iii) (iv) (ii) (B) (i) (ii) (iii) (iv) (C) (ii) (i) (iii) (iv) (D) (ii) (i) (iv) (iii)
D6508 13 P.T.O. PART - II DANCE
NOTE : Read the following passage and tick the correct answer of question numbers 26, 27, 28. Shivas Tandava is energetic and virile. It symbolically represents his panchakriyas. Shiva is thus Nataraja. Krishna is Natavara. His dance is the mystic rasa. He gracefully moves his delicate body interweaving himself between the 16,000 Gopis, on the banks of yamuna in the moonlight night.
26. It was found that : (A) Shiva and Krishna dance the tandava. (B) Shivas dance is Tandava and Krishna dances lasya. (C) Shiva performs rasa. (D) Krishnas dance represents creation and distruction.
27. It is understood that : (A) Tandav and Lasya are contemporary dance forms. (B) Both Shiva and Krishna danced with the Gopis. (C) Tandav is energetic and lasya is graceful dancing. (D) Both are danced on the banks of Yamuna.
28. It can be concluded that : (A) All dance styles have Tandav and Lasya. (B) Manipuri does not have Tandav. (C) Only Bharatanatyam has both Tandav and Lasya. (D) Only Kathak depicts Maharasa.
29. The scheme of basic 35 talas is used in : (A) Odissi (B) Bharatanatyam (C) Kathak (D) Manipuri
D6508 14 PART - II DANCE
ÙæðÅU : çÙÙæ´ç·¤Ì ÂçÚUÀðUÎ ·¤æð Âçɸ° ¥æñÚU ÂàÙ â´Øæ 26, 27 ß 28 ·¤æ âãè ©æÚU ÎèçÁ°Ð çàæß ·¤æ Ìæ´ÇUß ©ÁüSßè ¥æñÚU ÂéL¤áæðç¿Ì ãñÐ Øã ÂýÌè·¤è L¤Â âð ©Ù·¤è ´¿ çR¤Øæ¥æð´ ·¤æð ÂýÎçàæüÌ ·¤ÚUÌæ ãñÐ ¥ÌÑ, çàæß ÙÅUÚUæÁ ãñÐ ·ë¤cæ ÙÅUßÚU ãñÐ ©Ù·¤æ ÙëØ ÚUãSØßæÎè ÚUæâ ãñÐ ßæð, Âêæü×æâè ·¤è ÚUææè ·¤æð, Ø×éÙæ ·ð¤ ÌÅU ÂÚU, 16,000 »æðçÂØæð´ ·ð¤ çÕ¿ ¥ÂÙð ·¤æð ÕÅUÌð ãé°, àææÜèÙÌæ ·ð¤ âæÍ ¥ÂÙè ÙæÁé·¤ Îð㠷𤠥´» â´¿æÜÙ ·¤ÚUÌð ãñÐ
26. Øã ÂæØæ »Øæ ç·¤
(A) çàæß ¥æñÚU ·ë¤cæ Ìæ´ÇUß ÙëØ ·¤ÚUÌð ãñÐ
(B) çàæß ·¤æ ÙëØ Ìæ´ÇUß ãñ ¥æñÚU ·ë¤cææ ÜæSØ ÙëØ ·¤ÚUÌð ãñÐ
(C) çàæß ÚUæâ ¹ðÜÌð ãñÐ
(D) ·ë¤cææ ·¤æ ÙëØ ©Âçæ ¥æñÚU çßÙæàæ çÙM¤çÂÌ ·¤ÚUÌæ ãñÐ
27. Øã â×Á ¥æ »Øæ ãñ ç·¤Ð
(A) Ìæ´ÇUß ¥æñÚU ÜæSØ â×·¤æÜèÙ ÙëØ ·ð¤ L¤Â ãñÐ
(B) çàæß ¥æñÚU ·ë¤cææ ÎæðÙæð´ »æðçÂØæð´ ·ð¤ âæÍ ÙëØ ·¤ÚUÌð ãñÐ
(C) Ìæ´ÇUß ©Áüâßè ãñ ¥æñÚU ÜæSØ àææÜèÙÌæ ·¤æ ÙëØ ãñÐ
(D) ÎæðÙæð´ ÙëØ Ø×éÙæ ·ð¤ ÌÅU ÂÚU ç·¤Øð ÁæÌð ãñÐ
28. çÙc·¤áü ×ð´ Øã ·¤ãæ Áæ â·¤Ìæ ãñ ç·¤Ð
(A) âÖè ÙëØ àæñçÜØæð´ ×ð´ Ìæ´ÇUß ¥æñÚU ÜæSØ ãæðÌæ ãñÐ
(B) ×çæÂéÚUè ×ð´ Ìæ´ÇUß Ùãè´ ãæðÌæ ãñÐ
(C) çâÈü¤ ÖÚUÌÙæÅK×÷ ×ð´ Ìæ´ÇUß ¥æñÚU ÜæSØ ÎæðÙæð´ ãæðÌð ãñÐ
(D) çâÈü¤ ·¤Í·¤ ×ãæÚUæâ ·¤æð ÂýÎçàæüÌ ·¤ÚUÌæ ãñÐ
29. ×éÜÖêÌ 35 ÌæÜ ·¤è S·¤è× ç·¤â ×ð´ ©ÂØæð» ·¤è ÁæÌè ãñ?
(A) ¥æðǸèâè (B) ÖÚUÌÙæÅK×÷
(C) ·¤Í·¤ (D) ×çæÂéÚUè
D6508 15 P.T.O. 30. Put in correct chronology : (A) Valmiki, Bhasa, Kalidasa, Harsha. (B) Bhasa, Kalidasa, Valmiki, Harsha. (C) Kalidasa, Harsha, Valmiki, Bhasa. (D) Valmiki, Bhasa, Harsha, Kalidasa.
31. Assertion (A) : It is very easy to learn and dance Manipuri. Reason (R) : It has economy of movement. (A) Both (A) and (R) are true (B) (A) is true (R) is false (C) (A) is false (R) is true (D) Both (A) and (R) are false
32. Match the items in List I with items in List II : List I List II (a) Kalanidhi (i) Dance Festival (b) Astad Daboo (ii) Abhinaya (c) Ashish Khokar (iii) Special Children (d) Bruhad Natyanjali (iv) Attendance Code : (a) (b) (c) (d) (A) (ii) (iii) (iv) (i) (B) (ii) (iv) (iii) (i) (C) (iv) (i) (iii) (ii) (D) (ii) (iv) (i) (iii)
33. Hasya rasa has how many types ? (A) 4 (B) 6 (C) 8 (D) 2
34. Assertion (A) : Vibhavas and Anubhavas creats Rasa. Reason (R) : The Rasasutras mention so. (A) Both (A) and (R) are true (B) (A) is false (R) is true (C) Both (A) and (R) are false (D) (A) is true (R) is false
D6508 16 30. âãè ·¤æÜæÙéR¤× ÕÌ槰Р(A) ßæçË×·¤è, Öæâ, ·¤æÜèÎæâ, ãáü (B) Öæâ, ·¤æÜèÎæâ, ßæçË×·¤è, ãáü (C) ·¤æÜèÎæâ, ãáü, ßæçË×·¤è, Öæâ (D) ßæçË×·¤è, Öæâ, ãáü, ·¤æÜèÎæâ
31. ¥çÖ·¤ÍÙ (A) : ×çæÂéÚUè âè¹Ùæ ¥æñÚU ÙëØ ·¤ÚUÙæ ÕãéÌ ¥æâæÙ ãñÐ ·¤æÚUæ (R) : §â×ð´ ¥´» â´¿æÜÙ ·¤æ ©ÂØæð» ·¤× ãñÐ (A) (A) ¥æñÚU (R) ÎæðÙæð´ âØ ãñÐ (B) (A) âØ ãñ ¥æñÚU (R) ¥âØ ãñÐ (C) (A) ¥âØ ãñ ¥æñÚU (R) âØ ãñÐ (D) (A) ¥æñÚU (R) ÎæðÙæð´ ¥âØ ãñÐ
32. âê¿è I âð âê¿è II ·¤æ ç×ÜæÙ ·¤èçÁØð? âê¿è I âê¿è II (a) ·¤ÜæçÙÏè (i) ÙëØ â×æÚUæðã (b) ¥SÌæÎ ÎæÕê (ii) ¥çÖÙØ (c) ¥æçàæá ¹æð·¤Ú (iii) çßàæðá Õæð´ (d) ÕëãÎ ÙæÅUØæ´ÁçÜ (iv) ¥ðÅðUÙÇUæâ ·¤æðÇU Ñ (a) (b) (c) (d) (A) (ii) (iii) (iv) (i) (B) (ii) (iv) (iii) (i) (C) (iv) (i) (iii) (ii) (D) (ii) (iv) (i) (iii)
33. ãæSØ ÚUâ ·ð¤ ç·¤ÌÙð Âý·¤æÚU ãñ? (A) 4 (B) 6 (C) 8 (D) 2
34. ¥çÖ·¤ÍÙ (A) : çßÖæß ¥æñÚU ¥ÙéÖæß ÚUâ ©Âóæ ·¤ÚUÌð ãñÐ ·¤æÚUæ (R) : ÚUâ âêææð´ Ùð °ðâæ ·¤ãæ ãñÐ (A) (A) ¥æñÚU (R) ÎæðÙæð´ âØ ãñÐ (B) (A) ¥âØ ãñ ¥æñÚU (R) âØ ãñÐ (C) (A) ¥æñÚU (R) ÎæðÙæð´ ¥âØ ãñÐ (D) (A) âØ ãñ ¥æñÚU (R) ¥âØ ãñÐ
D6508 17 P.T.O. 35. Vasanta rasa is danced on the poornima of : (A) Holi (B) Diwali (C) Raksha Bandhan (D) Dassehra
36. Select the correct pair : (A) Jyeshta Nayiaka and Kanishta Nayika. (B) Balaramabharatam and Kathak (C) KaishiKivritti and Chari. (D) Kapittha and Kampita.
37. Match the items in List I with items in List II : List I List II (a) Alapadma (i) Padabheda (b) Bherunda (ii) Asamyukta Hasta (c) Lutthita (iii) Dashavatar (d) Varah (iv) Samyukta Hasta Code : (a) (b) (c) (d) (A) (ii) (i) (iii) (iv) (B) (iv) (ii) (i) (iii) (C) (ii) (iv) (iii) (i) (D) (ii) (iv) (i) (iii)
38. Indicate the odd one out : (A) Studies in Nayaka Nayika bheda by Rakes Gupta. (B) Number of Rasas by Dr. V. Raghavan. (C) Natyadarpanam by Ramchandra and Gunachandra. (D) The Square and Circle of the Arts by Dr. Kapila Vatsyayan.
39. Indicate the odd one : The Prominent dance libaries are (A) The Adyar Library. (B) NCPA Library. (C) Asiatic Society Library. (D) Saraswati Mahal Library.
D6508 18 35. ßâÌ ÚUæâ ·¤æ ÙëØ ç·¤â Âêçæü×æ ÂÚU ãæðÌæ ãñ? (A) ãæðÜè (B) çÎßæÜè (C) ÚUÿææÕ´ÏÙ (D) ÎàæãÚUæ
36. âãè Øé× ·¤æ ¿ØÙ ·¤èçÁ°? (A) ØðD ÙæØ·¤ ¥æñÚU ·¤çÙD ÙæçØ·¤æ (B) ÕæÜæÚUæ× ÖÚUÌæ× ¥æñÚU ·¤Í·¤ (C) ·ñ¤çàæ·¤èßëçæ ¥æñÚU ¿æÚUè (D) ·¤çÂÍ ¥æñÚU ·¤çÂÌ
37. âê¿è I âð âê¿è II ·¤æ ç×ÜæÙ ·¤èçÁ°? âê¿è I âê¿è II (a) ¥ÜÂÎ× (i) ÂæÎÖðÎ (b) ÖðL¤ÇU (ii) ¥â´ØéQ¤ ãSÌ (c) ÜénèÌ (iii) ÎàææßÌæÚU (d) ßÚUæã (iv) â´ØéQ¤ ãSÌ ·¤æðÇU Ñ (a) (b) (c) (d) (A) (ii) (i) (iii) (iv) (B) (iv) (ii) (i) (iii) (C) (ii) (iv) (iii) (i) (D) (ii) (iv) (i) (iii)
38. çßá×·¤æð ¿éÙè°? (A) SÅUÇUèÛæ §üÙ ÙæØ·¤-ÙæçØ·¤æ ÖðÎ -ÚUæ·ð¤àæ »é#æ (B) Ù´ÕÚU ¥æðȤ ÚUâæâ -ÇUæð. ßè. ÚUææßÙ (C) ÙæÅKÎÂüæ -ÚUæ׿´Îý ¥æñÚU »éæ¿´Îý (D) Î S·¤ßØÚU °ÇU â·ü¤Ü ¥æòȤ Î ¥æÅüUâ -·¤çÂÜæ ßæSØæØÙ
39. çßá× ·¤æð ¿éçÙ°; ÙëØ·ð¤ ÂýçâÎ ÂéSÌ·¤æÜØ ãñÐ (A) ¥Ç¸ØæÚU ÂéSÌ·¤æÜØ (B) °Ù. âè. Âè. °. ÂéSÌ·¤æÜØ (C) °çàæØæçÅU·¤ âæðâæØÅUè¤ »ý´ÍæÜæØ (D) âÚUSßÌè ×ãÜ »ý´ÍæÜØ
D6508 19 P.T.O. 40. Pick the odd one out : Indian Painting inspiring dance are (A) Ragaragini Painting (B) Baramasa Painting (C) Paintings depicting social life (D) Portraiture
41. Which of the following pairs is correctly matched ? (A) Dhiraudaata nayaka and chala (B) Mrugagati and Harinapluta Chari (C) Shurpanakha and Sundari (D) Shirobheda and Vibhava
42. Which of the following is not correctly matched : (A) Vasantasena and Sadharani nayika (B) Jugupsabhava and bibhatsarasa (C) Natyadharmi and Nayika alankara (D) Sthanakas and charis
43. Which is the correct chronology : (A) Samhita, Aranyaka, Brahmana, Upanishad (B) Aranyaka, Upanishad, Samhita, Brahmana (C) Samhita, Brahmana, Aranyaka, Upanishad (D) Brahmana, Samhita, Upanishad, Aranyaka
44. Orchestra of Cambodian dances is called : (A) Saing (B) Pwe (C) Lakon (D) Gammelan
45. The Sculptures taken out on procession are : (A) Chala murtis (B) Utsava murtis (C) Chitra murtis (D) Bali murtis
46. Which of the following pairs is not correctly matched : (A) Valana and Tara Karma (B) Vivartana and UruKarma (C) Vrishcika and Padabheda (D) Malina and Drishti bheda
D6508 20 40. §·¤ð Øæ çßá× ·¤æð ÕÌæ§Øð ÙëØ ·¤æð ÕÌæ§ØðÐ (A) ÚUæ» ÚæUç»Ùè ç¿æ (B) ÕæÚUæ×æâæ ç¿æ (C) âæ×æçÁ·¤ ÁèßÙ ç¿çææ ·¤ÚUÙð ßæÜð ç¿æ (D) L¤Âç¿ææ
41. çÙÙæ´ç·¤Ì Øé×æð´ ×ð´ âð ·¤æñÙâæ âãè âé×ðçÜÌ ãñ? (A) ÏèÚUæðÎææ ÙæØ·¤ ¥æñÚU ÀUÜ (B) ×ë»»çÌ ¥æñÚU ãçÚUæÜéÌ ¿æÚUè (C) àæêÂüÙ¹æ ¥æñÚU âéÎÚUè (D) çàæÚUæðÖðÎ ¥æñÚU çßÖæß
42. çÙÙæ´ç·¤Ì ×ð´ âð ·¤æñÙâæ âãè âé×ðçÜÌ Ùãè ãñ? (A) ßâÌâðÙæ ¥æñÚU âæÏæÚUæè ÙæçØ·¤æ (B) Áé»éâ Öæß ¥æñÚU çÕÖâ ÚUâ (C) ÙæÅKÏ×èü ¥æñÚU ÙæçØ·¤æ ¥Ü´·¤æÚU (D) SÍæÙ·¤ ¥æñÚU ¿æÚUè
43. âãè ·¤æÜÙéR¤× ·¤æñÙâæ ãñ? (A) â´çãÌæ, ¥ÚUæØ·¤, Õýærææ, ©ÂçÙáÎ (B) ¥ÚUæØ·¤, ©ÂçÙáÎ, â´çãÌæ, Õýærææ (C) â´çãÌæ, Õýærææ, ¥ÚUæØ·¤, ©ÂçÙáÎ (D) Õýærææ, â´çãÌæ, ©ÂçÙáÎ, ¥ÚUæØ·¤
44. ·¤ÕæðçÇUØÙ ÙëØæð´ ·¤æ ßælßëÎ Øæ ·¤ãÜæÌæ ãñ? (A) âñ´» (B) ßð (C) Üæ·¤æðÙ (D) »×ðÜÙ
45. ÁéÜêâ ×ð´ Üð Áæ§ü ÁæÙð ßæÜè ×êçÌüØæ´ ·¤æñÙâè ãñ? (A) ¿Ü ×êçÌüØæ (B) ©âß ×êçÌüØæ´ (C) ç¿æ ×êçÌüØæ´ (D) ÕÜè ×êçÌüØæ´
46. çÙÙæ´ç·¤Ì Øé×æð´ ×ð´ âð ·¤æñÙâæ âãè âé×ðçÜÌ Ùãè´ ãñ? (A) ßÜÙ ¥æñÚU ÌæÚUæ·¤×ü (B) çßßÌüÙ ¥æñÚU ©M¤·¤×ü (C) ßëçà¿·¤ ¥æñÚU ÂæÎÖðÎ (D) ×çÜÙ ¥æñÚU ÎëçCÖðÎ
D6508 21 P.T.O. 47. Assertion (A) : The Classical Dances depend a lot on Lokadharmi in their presentation.
Reason (R) : Bharata discusses Lokadharmi.
(A) Both (A) and (R) are false
(B) (A) is true (R) is false
(C) (A) is false (R) is true
(D) Both (A) and (R) are true
48. The acharya chudamani award for 2007 was conferred on :
(A) Alarmel Valli
(B) Danseuse Rhadha
(C) Padma Subrahmanyam
(D) Kamala Laxman
49. Assertion (A) : Odissi is performed to lyrics in Oriya only.
Reason (R) : All Classical Dance Styles use regional lyrics.
Code
(A) (A) is true (R) is false
(B) (A) and (R) are true
(C) (A) and (R) are false
(D) (A) is false (R) is true
50. Assertion (A) : Indian Modern Dance depicts only contemporary themes
Reason (R) : The traditional themes cannot be choreographed in Modern Dance.
(A) (A) and (R) are true
(B) (A) is true (R) is false
(C) (A) is false (R) is true
(D) (A) and (R) are false
D6508 22 47. ¥çÖ·¤ÍÙ (A) : àææèØ ÙëØ ¥ÂÙð ÂýSÌéçÌ·¤ÚUæ ×ð´ Üæð·¤Ï×èü ÂÚU ¥ØæçÏ·¤ çÙÖüÚU ·¤ÚUÌð ãñÐ
·¤æÚUæ (R) : ÖÚUÌ Ùð Üæð·¤Ï×èü ·¤è ¿¿æü ·¤è ãñÐ
(A) (A) ¥æñÚU (R) ÎæðÙæð´ ¥âØ ãñÐ
(B) (A) âØ ãñ ¥æñÚU (R) ¥âØ ãñÐ
(C) (A) ¥âØ ãñ ¥æñÚU (R) âØ ãñÐ
(D) (A) ¥æñÚU (R) ÎæðÙæð´ âØ ãñÐ
48. ßáü 2007 ·ð¤ çÜØð ¥æ¿æØü ¿êǸæ×æè ÂéÚUS·¤æÚU ç·¤âð çÎØæ »Øæ ÍæÐ
(A) ¥ÜÚU×ðÜ ßËÜè
(B) ÇUæâê§üâ ÚUæÏæ
(C) ÂÎ÷×æ âéÕÚUæã×Ø×
(D) ·¤×Üæ Üÿ×æ
49. ¥çÖ·¤ÍÙ (A) : ¥æðçÇUâè ·¤è ÂýSÌéçÌ ×ð´ ·ð¤ßÜ ¥æðçǸØæ ·¤çßÌæ·¤æ ÂýØæð» ãæðÌæ ãñÐ
Ì·ü¤ (R) : ãÚU°·¤ àææèØ ÙëØ àæñÜè Âýæ´ÌèØ Öæáæ ·¤æ ©ÂØæð» ·¤ÚUÌè ãñÐ
(A) (A) âØ ãñ (R) ¥âØ ãñÐ
(B) (A) ¥æñÚU (R) ÎæðÙæð´ âØ ãñÐ
(C) (A) ¥æñÚU (R) ÎæðÙæð´ ¥âØ ãñÐ
(D) (A) ¥âØ ãñ ¥æñÚU (R) âØ ãñÐ
50. ¥çÖ·¤ÍÙ (A) : ÖæÚUÌèØ ¥æÏéçÙ·¤ ÙëØ ·ð¤ßÜ â×·¤æÜèÙ Âýâ´»æð ·¤æð ÂýSÌéÌ ·¤ÚUÌæ ãñÐ
·¤æÚUæ (R) : ÂæÚUÂçÚU·¤ Âýâ´»æð ·¤æð Üð·¤ÚU ¥æÏéçÙ·¤ ÙëØ ·¤æ ÙëØ çÙÎðüàæÙ Ùãè´ ç·¤Øæ Áæ â·¤Ìæ ãñÐ
(A) (A) ¥æñÚU (R) ÎæðÙæð´ âØ ãñÐ
(B) (A) âØ ãñ ¥æñÚU (R) ¥âØ ãñÐ
(C) (A) ¥âØ ãñ ¥æñÚU (R) âØ ãñÐ
(D) (A) ¥æñÚU (R) ÎæðÙæð´ ¥âØ ãñÐ
D6508 23 P.T.O. PART - III DRAMA / THEATRE
26. Of the following playwrights who is known for writing political plays : (A) Dharamvir Bharathi (B) Badal sarcar (C) Girish Karnad (D) Vijay Tendulkar
27. Which of the following is a Malayalam play ? (A) Lanka Lakshmi (B) Aurangazeb (C) Evam Indrajit (D) Santhatha court chaluv ahai
28. Match the items in List I with thas of items in List II : List I List II (a) My life in Art (i) Adhya Ranga charya (b) Environmental Theatre (ii) Evic Bently (c) Indian Theatre (iii) Stanislousky (d) Modern Theatre practice (iv) Richard Schechner Code : (a) (b) (c) (d) (A) (iii) (iv) (i) (ii) (B) (iii) (ii) (iv) (i) (C) (ii) (i) (iii) (iv) (D) (iv) (iii) (ii) (i)
29. Play Tughlak is written by : (A) Indira Parthasarathy (B) G. Sangara Pillai (C) Dharmaveer Bharathi (D) Girish Karnad
30. Which is the correct sequeance ? (A) E. Alkazi; B. V. Karanath; B. M. Shah; Mohan Maharishi (B) B. M. Shah; B. V. Karanath; E. Alkazi; Mohan Maharishi (C) Mohan Maharishi; B. M. Shah; B. V. Karanath; E. Alkazi (D) B. V. Karanath; E. Alkazi; B. M. Shah; Mohan Maharishi
D6508 24 PART - III DRAMA / THEATRE
26. çÙÙæ´ç·¤Ì ÙæÅU·¤·¤æÚUæð´ ×ð´ âð ·¤æñÙ ÚUæÁÙñçÌ·¤ ÙæÅU·¤ çܹÙð ·ð¤ çÜ° ÁæÙð ÁæÌð ãñÐ (A) Ï×üßèÚU ÖæÚUÌè (B) ÕæÎÜ âÚU·¤æÚU (C) ç»ÚUèàæ ·¤ÙæüÇU (D) çßÁØ Ìð´ÎéÜ·¤ÚU
27. çÙÙæ´ç·¤Ì ×ð´ âð ·¤æñÙâæ ×ÜØæÜ× ÙæÅU·¤ ãñÐ (A) Ü´·¤æ Üÿ×è (B) ¥æñÚ´U»ÁðÕ (C) °ß× §ÎýÁèÌ (D) àææ´ÌÌæ ·¤æðÅüU ¿æÜæð ¥æãð
28. âê¿è I ×ð´ Îè ×Îæð´ ·¤æð âê¿è II ×ð´ Îè ×Îæð´ ·ð¤ âæÍ âé×ðçÜÌ ·¤Úð´U? âê¿è I âê¿è II (a) ×æ§ü Üæ§üȤ §Ù ¥æÅüU (i) ¥Ø Ú´U»æ¿æØü (b) °ÙßæØÚUÙ×ð´ÅUÜ çÍØðÅUÚU (ii) °çß·¤ Õð´ÅUçÜ (c) §´çÇUØÙ çÍØðÅUÚU (iii) SÅñ÷ÙâÜæòß÷S·¤è (d) ×æòÇUÙü çÍØðÅUÚU ÂðýçÅUâ (iv) çÚU¿ÇüU àæñ·÷¤ÙÚU ·¤æðÇU Ñ (a) (b) (c) (d) (A) (iii) (iv) (i) (ii) (B) (iii) (ii) (iv) (i) (C) (ii) (i) (iii) (iv) (D) (iv) (iii) (ii) (i)
29. ÙæÅU·¤ ÒÌé»Ü·¤Ó ç·¤â·ð¤ mæÚUæ çÜ¹æ »Øæ? (A) §´çÎÚUæ ÂæÍüâæÚUÍè (B) Áè. â´»ÚUçÂð (C) Ï×üßèÚU ÖæÚUÌè (D) ç»ÚUèàæ ·¤ÙæüÇU
30. âãè ¥ÙéR¤× ·¤æñÙâæ ãñ? (A) §.¥Ü·¤æÁè, Õè.ßè.·¤æÚæ´Í, Õè.°×.àææã, ×æðãÙ ×ãæçáü (B) Õè.°×.àææã, Õè.ßè ·¤æÚ´UÍ, §.¥Ü·¤æÁè, ×æðãÙ ×ãæçáü (C) ×æðãÙ ×ãæçáü, Õè.°×.àææã, Õè.ßè.·¤æÚUæ´Í, §.¥Ü·¤æÁè (D) Õè.ßè.·¤æÚUæ´Í, §.¥Ü·¤æÁè, Õè.°×.àææã, ×æðãÙ ×ãæçáü
D6508 25 P.T.O. 31. Indicate the odd one out : (A) Adhe Adhure (B) Leharon ki Raja (C) Ashad Ka Ek Din (D) Baki Ithihas
32. Assertion (A) : Theatre brings out the human truth. Reason (R) : Theatre is a preaching Institution. Code : (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. Which classical form is performed in a play house where Natayasastra conventions are followed : (A) Kuchippudi (B) Bhagavatha Mela (C) Kudiattam (D) Kathak
34. Square and circles is a book written by : (A) Amal Alana (B) Adhya Rengacharya (C) Kapila Vatsyan (D) Sivaram Karanth
35. Indicate odd one out : (A) Lakshmi Narayanlal (B) Kambar (C) B. V. Karanth (D) N. Muttuswamy
36. Which one of the following is not correctly matched ? (A) G. Sankara Pillai Karutha Deivam (B) Sivarama Karanth Yeksa Ganam (C) Nasrudin Shah N. S. D (D) Devaraj Ankur Kathakali
37. Modern theatre of India should have the strong base on our culture and values. But most of the modern plays and productions are being designed from the traditional forms which has definite form and content. Does this mean that modern theatre does not have any definite idea ? modern theatre Can be evolved (A) By strong understanding of our culture and values. (B) Instead of taking elements directly from traditional forms, new methods can be evolved. (C) Folkloric aspects have to be incorporated (D) New theatrical idom has to be evolved by understanding the present tense of the theatre
D6508 26 31. çßá× §´ç»Ì ·¤Úð´U? (A) ¥æÏð ¥ÏêÚðU (B) ÜãÚUæð´ ·¤æ ÚUæÁæ (C) ¥æáæɸ ·¤æ °·¤ çÎÙ (D) Õæ·¤è §çÌãæâ
32. ¥çÖ·¤ÍÙ (A) : Ú´U»×´¿ (çÍØðÅUÚU) ×æÙß âææ§ü ·¤æð ©Î÷ææçÅUÌ ·¤ÚUÌæ ãñÐ ·¤æÚUæ (R) : Ú´U»×´¿ Âý¿æÚU ·¤ÚUÙð ·¤è â´SÍæ ãñÐ ·¤æðÇU Ñ (A) (A) ¥æñÚU (R) ÎæðÙæð´ ¥âØ ãñÐ (B) (A) ¥æñÚU (R) ÎæðÙæð´ âØ ãñÐ (C) (A) âØ ãñ ¥æñÚU (R) ¥âØ ãñÐ (D) (A) ¥âØ ãñ ¥æñÚU (R) âØ ãñ
33. çÁâ ÙæÅK »ëã ×ð´ ÙæÅKàææSæ ·¤è ÂÚUÂÚUæ¥æð´ ·¤æ ÂæÜÙ ç·¤Øæ ÁæÌæ ãñ ßãæ´ ç·¤â àææèØ SßL¤Â ·¤è ÂýSÌéçÌ ãæðÌè ãñÐ (A) ·é¤ç¿ÂéǸè (B) Öæ»ßÌ ×ðÜæ (C) ·é¤çÇU¥^× (D) ·¤Í·¤
34. ÒÒSßðüØÚU °ÇU âÚ÷U·¤ÜâÓÓ ÂéSÌ·¤ ç·¤âÙð çܹè ãñ? (A) ¥×Ü ¥ÜæÙæ (B) ¥Ø Ú´U»æ¿æØü (C) ·¤çÂÜæ ßæÌâæØÙ (D) çàæßÚUæ× ·¤æÚUæ´Í
35. çßá× §´ç»Ì ·¤Úð´U (A) Üÿ×è ÙæÚUæØæÜæÜ (B) ·¤ÕæÚU (C) Õè.ßè. ·¤æÚUæ´Í (D) °Ù.×éÌéSßæ×è
36. çÙÙæ´ç·¤Ì ×ð´ âð ·¤æñÙâæ âãè âé×ðçÜÌ Ùãè´ ãñ? (A) Áè.àæ´·¤ÚU çÂËÜð ·¤L¤Í Îðß×÷ (B) çàæßÚUæ× ·¤æÚUæ´Í Øÿæ»æÙ (C) ÙâL¤gèÙ àææã °Ù.°â.ÇUè (D) ÎðßÚUæÁ ¥´·é¤ÚU ·¤Íæ·¤Üè
37. ÖæÚUÌ ·ð¤ ¥æÏéçÙ·¤ Ú´U»×´¿ ×ð´ ã×æÚUè â´S·ë¤çÌ ¥æñÚU ×éËØæð´ ·¤æ àæçQ¤àææÜè ¥æÏæÚU ãæðÙæ ¿æçãØðÐ ÂÚUÌé ¥çÏ·¤æ´àæ ¥æÏéçÙ·¤ ÙæÅU·¤ ¥æñÚU ÂýSÌéçÌ·¤ÚUæ ÂæÚUÂçÚU·¤ SßL¤Âæ𴠷𤠥æÏæÚU ÂÚU çÇUÁæ§Ù ç·¤° ÁæÌð ãñ´, çÁÙ·ð¤ çÙçà¿Ì SßL¤Â ¥æñÚU ¥´ÌßüSÌé ãæðÌè ãñÐ Øæ §â·¤æ ¥Íü ãé¥æ ç·¤ ¥æÏéçÙ·¤ Ú´U»×´¿ ·¤æð§ü çÙçà¿Ì çß¿æÚU Ùãè´ ¥ÂÙæÌæ ãñÐ ¥æÏéçÙ·¤ Ú´U»×´¿ çÙÙ ·ð¤ mæÚUæ ©Î÷çß·¤çâÌ ç·¤Øæ Áæ â·¤Ìæ ãñÐ (A) ã×æÚUè â´S·ë¤çÌ ¥æñÚU ×éËØæð´ ·ð¤ Ìèßý ÕæðÏ mæÚUæÐ (B) ÂæÚUÂçÚU·¤ SßL¤Âæð´ âð Ìß âèÏð ¥ÂÙæÙð ·ð¤ ÕÁæØ, Ù§ü ÂhçÌØæð´ ·¤æð ©Î÷çß·¤çâÌ ·¤ÚU·ð¤Ð (C) Üæð·¤ ÁèßÙ ·ð¤ ÂãÜé¥æð´ ·¤æð çÙ»ç×Ì ·¤ÚU·ð¤Ð (D) Ú´U»×´¿ ·¤è ßÌü×æÙ çSÍçÌ ·¤æð â×Ûæ ·¤ÚU ÙØæ Ú´U»×´¿èØ ¥æØæ× ©Î÷çß·¤çâÌ ·¤ÚUÙæ ãñÐ
D6508 27 P.T.O. 38. Urban theatre and rural theatre has the long gap as far as modern theatre is concerned. (A) The Environment of urban and rural life is entirely different. (B) Electronic media has not reached the rural areas completly. (C) Urban man is machine oriented and rural man is nature oriented. (D) Time and place elements diffar from urban and rural.
39. What are the qualities of folk theatre ? (A) Should have the ethnic values. (B) Improvisation spontanity in performance. (C) Technical devices are simple. (D) Music and Dance have its flavour.
40. NSD has got its National reputation. (A) Unique methods are applied in treatre. (B) Every year theatre festivals are organised. (C) Human Resource ministry is funding directly. (D) Maintains its standared in play productions.
41. Which of the following is not correctly matched ? (A) Habib Tanvir Tribal Theatre. (B) Song and Drama division Govt. of India. (C) E. Alkazi Theatre education. (D) National Centre for Performing Arts Chennai
42. Adhe Adhure was directed by : (A) K. N. Pannickar (B) Prof. S. Ramanujam (C) Ratan Tiyam (D) Amal Allana
43. Which of the following is an eminent theatre designer ? (A) Bansi Kaul (B) Prasanna (C) Robindass (D) Ramamurthy
44. Chorus is the : (A) Singing group (B) Repertory Company (C) Group of Activists (D) Dance troup
D6508 28 38. Áãæ´ Ì·¤ ¥æÏéçÙ·¤ Ú´U»×´¿ ·¤æ ÂýàÙ ãñ Ù»ÚUèØ Ú´U»×´¿ ¥æñÚU »ýæ×èæ Ú´U»×´¿ ·¤æð ÜÕæ ÚUæSÌæ ÌØ ·¤ÚUÙæ ãñÐ (A) Ù»ÚUèØ ¥æñÚU »ýæ×èæ ÁèßÙ ·¤æ ßæÌæßÚUæ çÕË·é¤Ü çÖóæ ãñÐ (B) °ÜðÅþUæðçÙ·¤ ×èçÇUØæ »ýæ×èæ ÿæðææð´ ×ð´ ÂêÚUè ÌÚUã Ùãè Âãé¡¿æ ãñÐ (C) Ù»ÚUèØ ÃØçQ¤ ×àæèÙ- ¥çÖ×é¹è ãñ ¥æñÚU »ýæ×èæ ÃØçQ¤ Âý·ë¤çÌ ¥çÖ×é¹è ãñÐ (D) â×Ø ¥æñÚU SÍæÙ âÕÏè Ìß Ù»ÚUèØ ¥æñÚU »ýæ×èæ ÿæðæ ×ð´ çÖóæ ãñÐ
39. Üæð·¤ Ú´U»×´¿ ·¤è çßàæðáÌæØð´ Øæ ãñ? (A) ×æÙßÁæÌèØ çßàæðáÌæØð´ (B) ÂýSÌéçÌ ×ð´ Ì·¤æÜ ÂýSÌéçÌ·¤ÚUæ ¥æñÚU âãÁÌæ (C) Ì·¤Ùè·¤è âæÏÙ âÚUÜ ãæð (D) â´»èÌ ¥æñÚU ÙëØ ·¤æ ¥ÂÙæ ÚUâ ãñ
40. °Ù.°â.ÇUè. ·¤è ¥ÂÙè ÚUæCþèØ ØæçÌ ãñ Øæðç·¤? (A) Ú´U»×´¿ ×ð´ ¥ÙêÆUè ÂhçÌØæð´ ·¤æ ¥ÙéÂýØæð» ç·¤Øæ ÁæÌæ ãñÐ (B) ÂýØð·¤ ßáü Ú´U»×´¿ â×æÚUæðã ¥æØæðçÁÌ ç·¤Øð ÁæÌð ãñ´Ð (C) ×æÙß â´âæÏÙ ×´ææÜØ âèÏð ÏÙ ÂýÎæÙ ·¤ÚU ÚUãæ ãñÐ (D) ÙæÅU·¤ ÂýSÌéçÌØæð´ ×ð´ ¥ÂÙð ×æÙ·¤ ·¤æØ× ÚU¹Ìæ ãñÐ
41. çÙÙæ´ç·¤Ì ×ð´ âð ·¤æñÙâæ âãè âé×ðçÜÌ Ùãè´ ãñ? (A) ãÕèÕ ÌÙßèÚU - ÁÙÁæÌèØ Ú´U»×´¿ (B) »èÌ °ß´ ÙæÅU·¤ ÂýÖæ» - ÖæÚUÌèØ âÚU·¤æÚU (C) §.¥Ü·¤æÁè - Ú´U»×´¿ âÕÏè çàæÿææ (D) ÚUæCþèØ ÂýÎàæüÙ ·¤Üæ ·ð¤Îý - ¿ðÙ÷Ù§ü
42. ¥æÏð ¥ÏêÚðU ·¤æ çÙÎðüàæÙ ç·¤âÙð ç·¤Øæ (A) ·ð¤.°Ù. ÂæçÙ·¤ÚU (B) Âýæð.°â.ÚUæ×æÙéÁ× (C) ÚUÌÙ çÌØ× (D) ¥×Ü ¥ÜæÙæ
43. çÙÙæ´ç·¤Ì ×ð´ âð ·¤æñÙ ÂýçÌçDÌ Ú´U»×´¿ çÇUÁæ§ÙÚU ãñ? (A) Õ´âè ·¤æñÜ (B) Âýâóææ (C) ÚUæðçÕÙÎæâ (D) ÚUæ××êçÌü
44. ÒßëλæÙÓ ãñÐ (A) »æÙð ßæÜæð´ ·¤æ â×êã (B) ÚðUÂÚUÅUÚUè ·¤ÂÙè (C) ©»ýßæçÎØæð´ ·¤æ â×êã (D) ÙëØ ×´ÇUÜè
D6508 29 P.T.O. 45. Which one of the following is the symbolic play ? (A) Ghost (B) Rhino souries (C) Media (D) Ashad Ka Ek Din
46. Invisible theatre is the concept of : (A) Artand (B) Augusto Boll (C) Mayor Hold (D) Eugne Barba
47. Which one of the following is an eminant lighting designer for the theatre ? (A) Dr. Ravindran (B) Ram Gopal Bajaj (C) Ramamurthy (D) Indira Parthasarathy
48. G. Sankara Pillai is a modern playwright from : (A) Tamil Nadu (B) Andhra Pradesh (C) Kerala (D) Karnataka
49. Teruk K Kouthu is the traditional form from : (A) Kerala (B) Manipur (C) Gujarat (D) Tamil Nadu
50. Of the following which Institute is organising theatre festivals ? (A) Nehru Centre for Performing Arts (B) Song and Drama Division (C) National School of Drama (D) Sangeeth Natak Academy
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D6508 30 45. çÙÙæ´ç·¤Ì ×ð´ âð ÂýÌè·¤è ÙæÅU·¤ ·¤æñÙâæ ãñ? (A) ææðSÅU (B) ÚUæ§ÙæðâÚUâ÷ (C) ×èçÇUØæ (D) ¥æáæɸ ·¤æ °·¤ çÎÙ
46. ¥ÎëàØ Ú´U»×´¿ 緤⠷¤è ¥ßÏæÚUææ ãñ? (A) ¥æÚUÅUæòÇU (B) ¥æò»SÅUæðÕæðÜ (C) ×ðØÚUãæðËÇU (D) ØêÁèÙæð ÕæÕæü
47. çÙÙæ´ç·¤Ì ×ð´ âð ÂýçÌçDÌ ÒÜæ§çÅ´U» çÇUÁæ§ÙÚUÓ ·¤æñÙ ãñ? (A) ÇUæ. ÚUçßÎýÙ (B) ÚUæ× »æðÂæÜ ÕÁæÁ (C) ÚUæ×æ×êçÌü (D) §´çÎÚUæ ÂæÍæüâæÍèü
48. Áè. àæ´·¤ÚU çÂñ ¥æÏéçÙ·¤ ÙæÅU·¤·¤æÚU ç·¤â ÚUæØ âð ãñ? (A) Ìç×Ü ÙæÇéU (B) ¥æÏý ÂýÎðàæ (C) ·ð¤ÚUÜæ (D) ·¤ÙæüÅU·¤æ
49. ÒÌðL¤·é¤ÌéÓ ç·¤â ÚUæØ ·¤æ ÂæÚUÂçÚU·¤ L¤Â ãñ? (A) ·ð¤ÚUÜæ (B) ×çæÂéÚU (C) »éÁÚUæÌ (D) Ìç×Ü ÙæÇéU
50. çÙÙæ´ç·¤Ì ×ð´ âð ·¤æñÙ âè â´SÍæ Ú´U»×´¿ â×æÚUæðã ¥æØæðçÁÌ ·¤ÚUÌè ãñ? (A) ÙðãL¤ âðÅ´UÚU ȤæòÚU ÂÚUȤæðç×Z» ¥æÅüUâ÷ (B) âæò» °ÇU ÇþUæ×æ çÇUßèÁÙ (C) ÙðàæÙÜ S·ê¤Ü ¥æòȤ ÇþUæ×æ (D) â´»èÌ ÙæÅU·¤ ¥·ð¤ÇU×è
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D6508 31 P.T.O. Space For Rough Work
D6508 32