the encounter of japan with the community of civilized nations
TRANSCRIPT
1. Write your roll number in the space provided on the top ofthis page.
2. This paper consists of seventy five multiple-choice type ofquestions.
3. At the commencement of examination, the question bookletwill be given to you. In the first 5 minutes, you are requestedto open the booklet and compulsorily examine it as below :(i) To have access to the Question Booklet, tear off the
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(iii) After this verification is over, the OMR Sheet Numbershould be entered on this Test Booklet.
4. Each item has four alternative responses marked (A), (B),(C) and (D). You have to darken the circle as indicated belowon the correct response against each item.Example :where (C) is the correct response.
5. Your responses to the items are to be indicated in the OMRSheet given inside the Booklet only. If you mark at anyplace other than in the circle in the OMR Sheet, it will not beevaluated.
6. Read instructions given inside carefully.7. Rough Work is to be done in the end of this booklet.8. If you write your Name, Roll Number, Phone Number or
put any mark on any part of the OMR Sheet, except for thespace allotted for the relevant entries, which may discloseyour identity, or use abusive language or employ any otherunfair means, you will render yourself liable todisqualification.
9. You have to return the test question booklet and OriginalOMR Sheet to the invigilators at the end of the examinationcompulsorily and must not carry it with you outside theExamination Hall. You are, however, allowed to carryduplicate copy of OMR Sheet on conclusion of examination.
10. Use only Blue/Black Ball point pen.11. Use of any calculator or log table etc., is prohibited.12. There is no negative marks for incorrect answers.
Number of Pages in this Booklet : 24 Number of Questions in this Booklet : 75
Instructions for the Candidates ¯Ö¸üßõÖÖÙ£ÖµÖÖë Ûêú ×»Ö‹ ×®Ö¤ìü¿Ö1. ¯ÖÆü»Öê ¯Öéšü Ûêú ‰ú¯Ö¸ü ×®ÖµÖŸÖ Ã£ÖÖ®Ö ¯Ö¸ü †¯Ö®ÖÖ ¸üÖê»Ö ®Ö´²Ö¸ü ×»Ö×ÜÖ‹ …2. ‡ÃÖ ¯ÖÏ¿®Ö-¯Ö¡Ö ´Öë ¯Ö“ÖÆü¢Ö¸ü ²ÖÆãü×¾ÖÛú»¯ÖßµÖ ¯ÖÏ¿®Ö Æïü …3. ¯Ö¸üßõÖÖ ¯ÖÏÖ¸ü´³Ö ÆüÖê®Öê ¯Ö¸ü, ¯ÖÏ¿®Ö-¯Öã×ßÖÛúÖ †Ö¯ÖÛúÖê ¤êü ¤üß •ÖÖµÖêÝÖß … ¯ÖÆü»Öê
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(ii) Ûú¾Ö¸ü ¯Öéšü ¯Ö¸ü ”û¯Öê ×®Ö¤ìü¿ÖÖ®ÖãÃÖÖ¸ü ¯ÖÏ¿®Ö-¯Öã×ßÖÛúÖ Ûêú ¯Öéšü ŸÖ£ÖÖ¯ÖÏ¿®ÖÖë Ûúß ÃÖÓܵÖÖ ÛúÖê †“”ûß ŸÖ¸üÆü “ÖîÛú Ûú¸ü »Öë ×Ûú µÖê ¯Öæ¸êüÆïü … ¤üÖêÂÖ¯ÖæÞÖÔ ¯Öã×ßÖÛúÖ ×•Ö®Ö´Öë ¯Öéšü/¯ÖÏ¿®Ö Ûú´Ö ÆüÖë µÖÖ ¤ãü²ÖÖ üÖ †ÖÝÖµÖê ÆüÖë µÖÖ ÃÖß׸üµÖ»Ö ´Öë ®Ö ÆüÖë †£ÖÖÔŸÖË ×ÛúÃÖß ³Öß ¯ÖÏÛúÖ¸ü Ûúß¡Öã×™ü¯ÖæÞÖÔ ¯Öã×ßÖÛúÖ Ã¾ÖßÛúÖ¸ü ®Ö Ûú¸ëü ŸÖ£ÖÖ ˆÃÖß ÃÖ´ÖµÖ ˆÃÖê»ÖÖî™üÖÛú¸ü ˆÃÖÛêú ãÖÖ®Ö ¯Ö¸ü ¤æüÃÖ¸üß ÃÖÆüß ¯ÖÏ¿®Ö-¯Öã×ßÖÛúÖ »Öê »Öë …‡ÃÖÛêú ×»Ö‹ †Ö¯ÖÛúÖê ¯ÖÖÑ“Ö ×´Ö®Ö™ü פüµÖê •ÖÖµÖëÝÖê … ˆÃÖÛêú ²ÖÖ¤ü ®ÖŸÖÖê †Ö¯ÖÛúß ¯ÖÏ¿®Ö-¯Öã×ßÖÛúÖ ¾ÖÖ¯ÖÃÖ »Öß •ÖÖµÖêÝÖß †Öî ü ®Ö Æüß †Ö¯ÖÛúÖê†×ŸÖ׸üŒŸÖ ÃÖ´ÖµÖ ×¤üµÖÖ •ÖÖµÖêÝÖÖ …
(iii) ‡ÃÖ •ÖÖÑ“Ö Ûêú ²ÖÖ¤ü OMR ¯Ö¡ÖÛú Ûúß ÛÎú´Ö ÃÖÓܵÖÖ ‡ÃÖ ¯ÖÏ¿®Ö-¯Öã×ßÖÛúÖ¯Ö¸ü †Ó×ÛúŸÖ Ûú¸ü ¤ëü …
4. ¯ÖÏŸµÖêÛú ¯ÖÏ¿®Ö Ûêú ×»Ö‹ “ÖÖ¸ü ˆ¢Ö¸ü ×¾ÖÛú»¯Ö (A), (B), (C) ŸÖ£ÖÖ (D) פüµÖêÝÖµÖê Æïü … †Ö¯ÖÛúÖê ÃÖÆüß ˆ¢Ö¸ü Ûêú ¾Öé¢Ö ÛúÖê ¯Öê®Ö ÃÖê ³Ö¸üÛú¸ü ÛúÖ»ÖÖ Ûú¸ü®ÖÖ Æîü•ÖîÃÖÖ ×Ûú ®Öß“Öê פüÜÖÖµÖÖ ÝÖµÖÖ Æîü …ˆ¤üÖÆü¸üÞÖ :•Ö²Ö×Ûúú(C) ÃÖÆüß ˆ¢Ö¸ü Æîü …
5. ¯ÖÏ¿®ÖÖë Ûêú ¢Ö¸ü Ûêú¾Ö»Ö ÖÏ¿®Ö Öã×ßÖÛúÖ Ûêú †®¤ü¸ü פüµÖê ÝÖµÖê OMR Ö¡ÖÛú Ö¸üÆüß †Ó×ÛúŸÖ Ûú¸ü®Öê Æïü … µÖפü †Ö¯Ö OMR ¯Ö¡ÖÛú ¯Ö¸ü פüµÖê ÝÖµÖê ¾Öé¢Ö Ûêú †»ÖÖ¾ÖÖ×ÛúÃÖß †®µÖ ãÖÖ®Ö ¯Ö¸ü ˆ¢Ö¸ü דÖÅ®ÖÖÓ×ÛúŸÖ Ûú¸üŸÖê Æïü, ŸÖÖê ˆÃÖÛúÖ ´Ö滵ÖÖÓÛú®Ö®ÖÆüà ÆüÖêÝÖÖ …
6. †®¤ü¸ü פüµÖê ÝÖµÖê ×®Ö¤ìü¿ÖÖë ÛúÖê ¬µÖÖ®Ö¯Öæ¾ÖÔÛú ¯ÖœÌëü …7. Ûú““ÖÖ ÛúÖ´Ö (Rough Work) ‡ÃÖ ¯Öã×ßÖÛúÖ Ûêú †×®ŸÖ´Ö ¯Öéšü ¯Ö¸ü Ûú¸ëü …8. µÖפü †Ö¯Ö OMR ¯Ö¡ÖÛú ¯Ö¸ü ×®ÖµÖŸÖ Ã£ÖÖ®Ö Ûêú †»ÖÖ¾ÖÖ †¯Ö®ÖÖ ®ÖÖ´Ö, ¸üÖê»Ö
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9. †Ö¯ÖÛúÖê ¯Ö¸üßõÖÖ ÃÖ´ÖÖ¯ŸÖ ÆüÖê®Öê ¯Ö¸ü ¯ÖÏ¿®Ö-¯Öã×ßÖÛúÖ ‹¾ÖÓ ´Öæ»Ö OMR ¯Ö¡ÖÛú×®Ö¸üßõÖÛú ´ÖÆüÖê¤üµÖ ÛúÖê »ÖÖî™üÖ®ÖÖ †Ö¾Ö¿µÖÛú Æîü †Öî¸ü ¯Ö¸üßõÖÖ ÃÖ´ÖÖׯŸÖ Ûêú ²ÖÖ¤üˆÃÖê †¯Ö®Öê ÃÖÖ£Ö ¯Ö¸üßõÖÖ ³Ö¾Ö®Ö ÃÖê ²ÖÖÆü¸ü ®Ö »ÖêÛú¸ü •ÖÖµÖë … ÆüÖ»ÖÖÓ×Ûú †Ö¯Ö¯Ö¸üßõÖÖ ÃÖ´ÖÖׯŸÖ ¯Ö¸ü OMR ¯Ö¡ÖÛú Ûúß ›ãü¯»ÖßÛêú™ü ¯ÖÏ×ŸÖ †¯Ö®Öê ÃÖÖ£Ö »Öê •ÖÖÃÖÛúŸÖê Æïü …
10. Ûêú¾Ö»Ö ®Öß»Öê/ÛúÖ»Öê ²ÖÖ»Ö ¯¾ÖÖ‡Õ™ü ¯Öê®Ö ÛúÖ Æüß ‡ÃŸÖê ÖÖ»Ö Ûú ëü …11. ×ÛúÃÖß ³Öß ¯ÖÏÛúÖ¸ü ÛúÖ ÃÖÓÝÖÞÖÛú (Ûîú»ÖÛãú»Öê™ü¸ü) µÖÖ »ÖÖÝÖ ™êü²Ö»Ö †Öפü ÛúÖ
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[Maximum Marks : 150Time : 2 1/2 hours]
PAPER-III
PERFORMING ARTS - DANCE / DRAMA / THEATRE
(To be filled by the Candidate)
Signature and Name of Invigilator
OMR Sheet No. : ...............................................
Roll No.
(In words)
1. (Signature) __________________________
(Name) ____________________________
2. (Signature) __________________________
(Name) ____________________________Roll No.________________________________
6 5
(In figures as per admission card)
J 1 2
J-65-12 1 P.T.O.
Paper-III 2 J-65-12
PERFORMING ARTS – DANCE / DRAMA / THEATRE Paper – III
SPECIAL INSTRUCTIONS 1. Candidates are required to answer all the 50 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 for Dance / Drama / Theatre1. Match the following List-I with List –
II List – I List – II
(a) Ram (i) Dhiroddhata (b) Krishna (ii) Dhirodatta (c) Buddha (iii) Dheeralalit (d) Duryodhan (iv) Dheeraprasant
Codes : (a) (b) (c) (d) (A) (ii) (iii) (iv) (i) (B) (iv) (ii) (i) (iii) (C) (iii) (i) (ii) (iv) (D) (i) (iv) (iii) (ii)
2. Pick the odd one out (A) Subrahmanya Bharati
– Paanchali sapath
(B) Dharmavir Bharati
– Andha yug
(C) Ratan Thiyyam
– Chakravyuh
(D) Aadya Rangachaarya
– Pasu Gayatri
3. Who help ‘Sita’ in Ashok Vaatika ? (A) Trizata (B) Soorpanakha (C) Mandodari (D) Manthara
4. Match List – I with List – II List – I List – II
(a) Ravana Chaaya (i) Andhra Pradesh
(b) Wayang Kulit (ii) Kerala (c) Tholpava Kuthu (iii) Odisha (d) Burra Katha (iv) Indonesia
Codes : (a) (b) (c) (d) (A) (iv) (ii) (iii) (i) (B) (iii) (iv) (ii) (i) (C) (ii) (i) (iv) (iii) (D) (i) (iii) (ii) (iv)
5. What is the name of character which turns as deer ?
(A) Hanuman (B) Maaricha (C) Ravana (D) Vibhishana
6. Match the following : List – I List – II
(a) Abhinava Bharati
(i) Panini
(b) Abhinava Darpana
(ii) Krisaaswa and Silaali
(c) Ashtaadhyayi (iii) Abhinava gupta
(d) Natya Sutra (iv) Nandi Keswara
Codes : (a) (b) (c) (d) (A) (ii) (iv) (i) (iii) (B) (i) (iii) (ii) (iv) (C) (iv) (ii) (iii) (i) (D) (iii) (iv) (i) (ii)
7. Assertion (A) : One who constructs a theatre disregarding the principles laid down in Natya Sastra will lose everything and will be reborn in the lower order of animals.
Reason (R) : If the worship is either totally neglected or offered carelessly, the result would be worse.
Codes : (A) (A) is not correct but (R) is
correct. (B) (R) is not correct but (A) is correct. (C) (A) and (R) both are correct. (D) Both (R) and (A) are not correct.
8. The technical word used by Nātyaśāstra for the ‘Down stage’ is
(A) Rangaśirsa (B) Rangapith (C) Nepathya (D) Mattavarani
9. Here we have four important personalities mentioned in chapter II of Natyasastra. Choose the ‘different’ personality among these :
(A) Narada (B) Bharata (C) Nahusha (D) Brahma
10. A raised platform measuring 12"× 12" is centered in the rear half stated in Natyasastra called as
(A) Mattavaarani (B) Ranga Seersha (C) Ranga Peetha (D) Shad daruka
J-65-12 3 Paper-III
1. ÃÖæ“Öß-I ÛúÖê ÃÖæ“Öß-II Ûêú ÃÖÖ£Ö ÃÖã´Öê×»ÖŸÖ Ûúßו֋ :
ÃÖæ“Öß – I ÃÖæ“Öß – II
(a) ¸üÖ´Ö (i) ¬Ö߸üÖê¤Ëü¬ÖŸÖ (b) ÛéúÂÞÖ (ii) ¬Ö߸üÖê¤üÖ¢Ö (c) ²Öã¨ü (iii) ¬Ö߸ü»Ö×»Ö¢Ö (d) ¤ãüµÖÖì¬Ö®Ö (iv) ¬Ö߸ü ¯ÖÏ¿ÖÖÓŸÖ
Ûæú™ü : (a) (b) (c) (d) (A) (ii) (iii) (iv) (i) (B) (iv) (ii) (i) (iii) (C) (iii) (i) (ii) (iv) (D) (i) (iv) (iii) (ii)
2. ×¾ÖÂÖ´Ö ÛúÖê ¯ÖÆü“ÖÖ×®Ö‹ : (A) ÃÖã²ÖÎÆü´Ö®µÖ ³ÖÖ¸üŸÖß – ¯ÖÖÓ“ÖÖ»Öß ¿Ö¯Ö£Ö (B) ¬Ö´ÖÔ¾Ö߸ü ³ÖÖ¸üŸÖß – †Ó¬ÖÖ µÖãÝÖ (C) ¸üŸÖ®Ö ×£ÖµÖ´Ö – “ÖÛÎú¾µÖæÆü (D) †Öª ¸ÓüÝÖÖ“ÖÖµÖÔ – ¯ÖÃÖã ÝÖÖµÖ¡Öß
3. †¿ÖÖêÛú ¾ÖÖ×™üÛúÖ ´Öë ÃÖߟÖÖ Ûúß ÃÖÆüÖµÖŸÖÖ ×ÛúÃÖ®Öê Ûúß £Öß ?
(A) ס֕֙üÖ (B) ¿Öæ¯ÖÔ®ÖÜÖÖ (C) ´ÖÓ¤üÖê¤ü¸üß (D) ´ÖÓ£Ö¸üÖ
4. ÃÖæ“Öß-I ÛúÖê ÃÖæ“Öß-II Ûêú ÃÖÖ£Ö ÃÖã´Öê×»ÖŸÖ Ûúßו֋ : ÃÖæ“Öß – I ÃÖæ“Öß – II
(a) ¸üÖ¾ÖÞÖ ”ûÖµÖÖ (i) †ÖÓ¬ÖÐ ¯ÖϤêü¿Ö (b) ¾ÖÖµÖÓÝÖ Ûãú×»ÖŸÖ (ii) Ûêú¸ü»Ö (c) £ÖÖê»Ö¯ÖÖ¾ÖÖÛãúŸÖã (iii) ˆ›ÌüßÃÖÖ (d) ²Öã¸üÖÔ Ûú£ÖÖ (iv) ‡Ó›üÖê®Öê׿ֵÖÖ
Ûæú™ü : (a) (b) (c) (d) (A) (iv) (ii) (iii) (i) (B) (iii) (iv) (ii) (i) (C) (ii) (i) (iv) (iii) (D) (i) (iii) (ii) (iv)
5. ˆÃÖ ¯ÖÖ¡Ö ÛúÖ ®ÖÖ´Ö ²ÖŸÖ»ÖÖ‡‹ •ÖÖê ´ÖéÝÖ ²Ö®Ö ÝÖµÖÖ ?
(A) Æü®Öã´ÖÖ®Ö (B) ´ÖÖ¸üß“Ö (C) ¸üÖ¾ÖÞÖ (D) ×¾Ö³ÖßÂÖÞÖ
6. ×®Ö´®Ö×»Ö×ÜÖŸÖ ÛúÖê ×´Ö»ÖÖ‹Ñ : ÃÖæ“Öß – I ÃÖæ“Öß – II
(a) †×³Ö®Ö¾Ö ³ÖÖ¸üŸÖß (i) ¯ÖÖ×ÞÖ®Öß (b) †×³Ö®Ö¾Ö ¤ü¯ÖÔÞÖ (ii) ÛéúÃÖÖÃÖË¾Ö †Öî¸ü
×ÃÖ»ÖÖ»Öß (c) †Â™ü¬µÖÖµÖß (iii) †×³Ö®Ö¾Ö ÝÖã¯ŸÖ (d) ®ÖÖ™ËüµÖÃÖæ¡Ö (iv) ®Ö×®¤üÛêú¿¾Ö¸ü
Ûæú™ü : (a) (b) (c) (d) (A) (ii) (iv) (i) (iii) (B) (i) (iii) (ii) (iv) (C) (iv) (ii) (iii) (i) (D) (iii) (iv) (i) (ii) 7. Ûú£Ö®Ö (A) : •ÖÖê ®ÖÖ™ü¶¿ÖÖÃ¡Ö ´Öë ×®Ö¬ÖÖÔ׸üŸÖ
×ÃÖ¨üÖ®ŸÖÖë ÛúÖ ¬µÖÖ®Ö ¸üÜÖê ²ÖÝÖî¸ü ¸ÓüÝÖ´ÖÓ“Ö Ûúß ¸ü“Ö®ÖÖ Ûú¸üŸÖÖ Æîü ¾ÖÆü ÃÖ²Ö Ûãú”û ÜÖÖê ¤êüÝÖÖ †Öî¸ü ¯Ö¿Öã†Öë Ûúß ×®Ö´®ÖŸÖ´Ö ÛúÖê×™ü ÃÖê ˆÃÖÛúÖ ¯Öã®Ö•ÖÔ®´Ö ÆüÖêÝÖÖ …
ÛúÖ¸üÞÖ (R) : µÖפü ¯Öæ•ÖÖ Ûúß ¯Öæ üß ŸÖ¸üÆü ÃÖê ˆ¯ÖêõÖÖ Ûúß •ÖÖ‹ µÖÖ ˆÃÖê »ÖÖ¯Ö¸ü¾ÖÖÆüß ÃÖê ¯Öæ¸üÖ ×ÛúµÖÖ •ÖÖ‹ ŸÖÖê ¯Ö׸üÞÖÖ´Ö ²Öã¸üÖ ÆüÖêÝÖÖ …
Ûæú™ü : (A) (A) †ÃÖŸµÖ Æîü (R) ÃÖŸµÖ Æîü … (B) (R) †ÃÖŸµÖ Æîü »Öê×Ûú®Ö (A) ÃÖŸµÖ Æîü … (C) (A) †Öî¸ü (R) ¤üÖê®ÖÖë ÃÖÆüß Æïü … (D) (R) †Öî¸ü (A) ¤üÖê®ÖÖë ÃÖÆüß ®ÖÆüà Æïü … 8. ‘›üÖˆ®Ö Ùêü•Ö’ Ûêú ×»Ö‹ ®ÖÖ™ËüµÖ¿ÖÖÃ¡Ö ´Öë ¯ÖϵÖ㌟Ö
ÃÖÓ–ÖÖ ÛúÖî®Ö ÃÖß Æîü ? (A) ¸ÓüÝÖ¿ÖßÂÖÔ (B) ¸ÓüÝÖ¯Ößšü (C) ®Öê¯Ö£µÖ (D) ´Ö¼ü¾ÖÖ¸üÞÖß 9. ®ÖÖ™ü¶¿ÖÖÃ¡Ö Ûêú †¬µÖÖµÖ II ´Öë “ÖÖ¸ü ´ÖÆü¢¾Ö¯ÖæÞÖÔ
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(A) ®ÖÖ¸ü¤ü (B) ³Ö¸üŸÖ (C) ®ÖÆãüÂÖ (D) ²ÖÎÉÖ 10. ®ÖÖ™ü¶¿ÖÖÃ¡Ö ´Öë Ûú×£ÖŸÖ 12" × 12" ‡Ó“Ö ÛúÖ
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®ÖéŸµÖ / ®ÖÖ™üÛú / ÓüÝÖ´ÖÓ“Ö
¯ÖÏ¿®Ö ¯Ö¡Ö – III
×¾Ö¿ÖêÂÖ ÃÖæ“Ö®ÖÖ‹Ñ 1. ¯Ö¸üßõÖÖ£Öá ³ÖÖÝÖ-I Ûêú ÃÖ³Öß 50 ¯ÖÏ¿®ÖÖë Ûêú ˆ¢Ö¸ü ¤ëü … µÖÆü ³ÖÖÝÖ †×®Ö¾ÖÖµÖÔ Æîü … ¯Ö¸üßõÖÖ£Öá ³ÖÖÝÖ-II †Öî¸ü ³ÖÖÝÖ-III
´Öë ÃÖê ×ÛúÃÖß ‹Ûú ³ÖÖÝÖ Ûêú ÃÖ³Öß 25 ¯ÖÏ¿®ÖÖë Ûêú ˆ¢Ö¸ü ¤ëü … ¯ÖÏŸµÖêÛú ¯ÖÏ¿®Ö Ûêú ¤üÖê †ÓÛú Æïü … 2. ¯Ö¸üßõÖÖ£Öá †¯Ö®Öê “ÖµÖ×®ÖŸÖ ³ÖÖÝÖ ÛúÖê OMR ˆ¢Ö¸ü ¯Ö¡Ö ´Öë ïÖ™ü ºþ¯Ö ÃÖê †Ó×ÛúŸÖ Ûú ëü …ü
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®ÖéŸµÖ / ®ÖÖ™üÛú / ÓüÝÖ´ÖÓ“Ö ÃÖ³Öß Ûêú ×»Ö‹
Paper-III 4 J-65-12
11. Match the following : List – I List –II
(a) Types of Heroines in Love
(i) 8
(b) Categories in Abhinaya
(ii) 5
(c) Number of Arthaprakritis
(iii) 6
(d) Varieties of Aasya (iv) 3 Codes : (a) (b) (c) (d) (A) (ii) (iii) (iv) (i) (B) (iii) (ii) (i) (iv) (C) (i) (iv) (ii) (iii) (D) (iv) (i) (iii) (ii)
12. Assertion (A) : According to Abhinav Gupta, if ‘Looka Dharmi’ is the canvas, the painting thereon may be stated as ‘Natya Dharmi’, so that a complete picture is produced.
Reason (R) : If there is no canvas, no painting. Similarity, no need to have painting, canvas is not required. Canvas is different and painting is different.
Codes: (A) Both (A) and (R) are wrong. (B) (A) is right and (R) is wrong. (C) (R) is correct and (A) is wrong. (D) Both (A) and (R) are correct.
13. The language used in Drama is divided into four categories. Put them into order
(A) Atibhasha, Aaryabhasha, Jaatibhasha, Yoonyantri bhasha
(B) Aaaryabhasha, Yoonyantribhasha, Atibhasha, Jaatibhasha
(C) Jaatibhasha, Atibhasha, Aaryabhasha, yoonyantaribhasha
(D) Aaaryabhasha, Jaatibhasha, Atibhasha, yooyantaribhasha
14. Pick the odd one out from the given ‘emotions’.
(A) Rati / Love (B) Krodha / Anger (C) Bhaya / Fear (D) Asru / Tears
15. To bring into being the pleasures and pains experienced by others, making them an individual’s own is called
(A) Abhyasa (B) Sattva (C) Aakaarya (D) Vibhrama
16. Pick up the odd man out : (A) Udbhata (B) Bhattanayaka (C) Utpala (D) Bharata
17. Here, we have some of the aspects of Naatya Ved Sangraha or the essence of Naatya Sastra. Put them in order.
(A) Bhava, Abhinaya, Vritti, Siddhi, Ranga, Rasa
(B) Ranga, Vritti, Bhava, Siddhi, Rasa, Abhinaya
(C) Rasa, Bhava, Abhinaya, Vritti, Siddhi, Ranga
(D) Abhinaya, Bhava, Rasa, Siddhi, Ranga, Vritti
18. “The History of Sanskrit Poetics” book written by
(A) S. N. Shastri (B) Pingali Lakshmi Kantam (C) K. M. Varma (D) P. V. Kane
19. Inner Knowledge or personal experience mentioned in Naatya Sastra as
(A) Nirved (B) Adhyatma (C) Anubhav (D) Swed
20. Match the following : List – I List – II
(a) Bhava Prakasan (i) Adhyay (b) Naatya Darpan (ii) Adhikar (c) Naatya Sastra (iii) Prakash (d) Dasa Rupak (iv) Vivek
Codes : (a) (b) (c) (d) (A) (ii) (iv) (i) (iii) (B) (i) (ii) (iii) (iv) (C) (ii) (iii) (iv) (i) (D) (iii) (ii) (i) (iv)
21. Match the items in List-I with the items in List-II :
List – I List – II (a) Srinagarprakāśa (i) Sāgarnandin (b) Abhinaya Darpana
(ii) Bhoja
(c) Nrityādhyāy (iii) Nandikesh-war
(d) Nātak-Lakshan- Ratnakos.a
(iv) Ashok malla
Codes : (a) (b) (c) (d) (A) (iii) (iv) (ii) (i) (B) (iv) (i) (ii) (iii) (C) (ii) (iii) (iv) (i) (D) (i) (ii) (iii) (iv)
J-65-12 5 Paper-III
11. ×®Ö´®Ö×»Ö×ÜÖŸÖ ÛúÖê ÃÖã´Öê×»ÖŸÖ Ûúßו֋ : ÃÖæ“Öß – I ÃÖæ“Öß – II
(a) ¯ÖÏê´Ö Ûú¸ü®Öê ¾ÖÖ»Öß ®ÖÖ×µÖÛúÖ†Öë Ûêú ¯ÖÏÛúÖ¸ü
(i) 8
(b) †×³Ö®ÖµÖ Ûúß ÁÖê×ÞÖµÖÖÑ (ii) 5
(c) †£ÖÔ¯ÖÏÛéúןֵÖÖë Ûúß ÃÖÓܵÖÖ (iii) 6
(d) †ÖÃµÖ Ûúß ×¾Ö×¾Ö¬ÖŸÖÖ‹Ñ (iv) 3
Ûæú™ü : (a) (b) (c) (d) (A) (ii) (iii) (iv) (i) (B) (iii) (ii) (i) (iv) (C) (i) (iv) (ii) (iii) (D) (iv) (i) (iii) (ii)
12. Ûú£Ö®Ö (A) : †×³Ö®Ö¾Ö ÝÖã¯ŸÖ Ûêú †®ÖãÃÖÖ¸ü µÖפü ‘»ÖÖêÛú ¬Ö´Öá’ Ûîú®Ö¾ÖÖÃÖ Æîü ŸÖÖê ˆÃÖ ¯Ö¸ü ¯ÖêØ®™üÝÖ ÛúÖê ®ÖÖ™ËüµÖ ¬Ö´Öá ÛúÆüÖ •ÖÖ ÃÖÛúŸÖÖ Æîü וÖÃÖÃÖê ×Ûú ¯Öæ¸üß ×¯ÖŒ“Ö¸ü ¯ÖÏßÖãŸÖ ÆüÖê ÃÖÛêú …
ÛúÖ¸üÞÖ (R) : µÖפü ÛúÖê‡Ô Ûîú®Ö¾ÖÖÃÖ ®ÖÆüà Æîü †Öî¸ü ÛúÖê‡Ô ¯ÖëØ™üÝÖ ®ÖÆüà Æîü ŸÖÖê ¯ÖêØ®™üÝÖ ¸üÜÖ®Öê Ûúß ÛúÖê‡Ô •Öºþ¸üŸÖ ®ÖÆüà Æîü †Öî ü Ûîú®Ö¾ÖÖÃÖ †Ö¾Ö¿µÖÛú ®ÖÆüà Æîü … Ûîú®Ö¾ÖÖÃÖ †»ÖÝÖ Æîü, †Öî¸ü ¯ÖêØ®™üÝÖ †»ÖÝÖ Æîü …
Ûæú™ü : (A) (A) †Öî¸ü (R) ¤üÖê®ÖÖë ÝÖ»ÖŸÖ Æïü …
(B) (A) ÃÖÆüß Æîü (R) ÝÖ»ÖŸÖ Æîü …
(C) (R) ÃÖÆüß Æîü (A) ÝÖ»ÖŸÖ Æîü …
(D) (A) †Öî¸ü (R) ¤üÖê®ÖÖë ÃÖÆüß Æïü …
13. ®ÖÖ™üÛú ´Öë ¯ÖϵÖÖêÝÖ Ûúß ÝÖ‡Ô ³ÖÖÂÖÖ ÛúÖê “ÖÖ¸ü ÁÖê×ÞÖµÖÖë ´Öë ×¾Ö³ÖÖ×•ÖŸÖ ×ÛúµÖÖ ÝÖµÖÖ Æîü … ‡®Æëü ÛÎú´Ö ´Öë ¸üÜÖë :
(A) †×ŸÖ³ÖÖÂÖÖ, †ÖµÖÔ³ÖÖÂÖÖ, •ÖÖןֳÖÖÂÖÖ, µÖÖê®Ö µÖ®¡Öß ³ÖÖÂÖÖ
(B) †ÖµÖÔ³ÖÖÂÖÖ, µÖÖê®ÖµÖ®¡Öß³ÖÖÂÖÖ, †×ŸÖ³ÖÖÂÖÖ, •ÖÖןֳÖÖÂÖÖ
(C) •ÖÖןֳÖÖÂÖÖ, †×ŸÖ³ÖÖÂÖÖ, †ÖµÖÔ³ÖÖÂÖÖ, µÖÖê®Ö µÖ®¡Öß ³ÖÖÂÖÖ
(D) †ÖµÖÔ³ÖÖÂÖÖ, •ÖÖןֳÖÖÂÖÖ, †×ŸÖ³ÖÖÂÖÖ, µÖÖê®Ö µÖ®¡Öß ³ÖÖÂÖÖ
14. ×®Ö´®Ö×»Ö×ÜÖŸÖ ‘³ÖÖ¾ÖÖë’ ´Öë ÃÖê ×¾ÖÂÖ´Ö ÛúÖê “Öã×®Ö‹ : (A) ¸ü×ŸÖ / ¯ÖÏê´Ö (B) ÛÎúÖê¬Ö / ÝÖãÃÃÖÖ (C) ³ÖµÖ / ›ü¸ü (D) †ÁÖã / †ÖÑÃÖæ
15. ¤æüÃÖ¸üÖë Ûêú ÃÖãÜÖ †Öî¸ü ¤ü¤Ôü ÛúÖê †¯Ö®ÖÖ ÃÖ´Ö—Ö®Öê ÛúÖê ÛúÆüŸÖê Æïü
(A) †³µÖÖÃÖ (B) ÃÖŸ¾Ö (C) †ÛúÖµÖÔ (D) ×¾Ö³ÖÏ´Ö
16. ×¾ÖÂÖ´Ö ÛúÖê “Öã×®ÖµÖê : (A) ˆ¤Ëü³Ö™ü (B) ³Ö¼ü®ÖÖµÖÛú (C) ˆŸ¯Ö»Ö (D) ³Ö¸üŸÖ
17. ®ÖÖ™ü¶¾Öê¤ü ÃÖÓÝÖÏÆü Ûêú ºþ¯Ö µÖÖ ®ÖÖ™ËüµÖ¿ÖÖÃ¡Ö Ûêú ÃÖ¢¾Ö ÛúÖê ®ÖÖ™ü¶¾Öê¤ü Ûêú †®ÖãÃÖÖ¸ü ÃÖÆüß ÛÎú´Ö ´Öë ×»Ö×ÜÖ‹ :
(A) ³ÖÖ¾Ö, †×³Ö®ÖµÖ, ¾Öé×¢Ö, ×ÃÖרü, ÓüÝÖ, ¸üÃÖ (B) ¸ÓüÝÖ, ¾Öé×¢Ö, ³ÖÖ¾Ö, ×ÃÖרü, ¸üÃÖ, †×³Ö®ÖµÖ (C) ¸üÃÖ, ³ÖÖ¾Ö, †×³Ö®ÖµÖ, ¾Öé×¢Ö, ×ÃÖרü, ¸ÓüÝÖ (D) †×³Ö®ÖµÖ, ³ÖÖ¾Ö, ¸üÃÖ, ×ÃÖרü, ¸ÓüÝÖ, ¾Öé×¢Ö
18. ‘¤ü ×ÆüÙÒüß †Öò±ú ÃÖÓÃÛéúŸÖ ¯ÖÖê‹×™üŒÃÖ’ Ûêú ¸ü“Ö®ÖÖÛúÖ¸ü Æîü (A) ‹ÃÖ.‹®Ö. ¿ÖÖáÖß (B) دÖÝÖ»Öß »Öõ´ÖßÛúÖ®ŸÖ´Ö (C) Ûêú.‹´Ö. ¾Ö´ÖÖÔ (D) ›üÖò. ¯Öß.¾Öß. ÛúÖ®Öê
19. ®ÖÖ™ËüµÖ¿ÖÖÃ¡Ö ´Öë פüµÖê þÖÖ®Öã³Ö¾Ö µÖÖ †ÖÓŸÖ׸üÛú –ÖÖ®Ö Æîü (A) ×®Ö¾Öì¤ (B) †Ö¬µÖÖŸ´Ö (C) †®Öã³Ö¾Ö (D) þÖê¤ü
20. ÃÖæ“Öß-I ÃÖê ÃÖæ“Öß-II ÛúÖ ×´Ö»ÖÖ®Ö Ûúßו֋ : ÃÖæ“Öß – I ÃÖæ“Öß – II
(a) ³ÖÖ¾Ö ¯ÖÏÛúÖ¿Ö®Ö (i) †¬µÖÖµÖ (b) ®ÖÖ™ËüµÖ¤ü¯ÖÔÞÖ (ii) †×¬ÖÛúÖ¸ü (c) ®ÖÖ™ËüµÖ¿ÖÖÃ¡Ö (iii) ¯ÖÏÛúÖ¿Ö (d) ¤ü¿Öºþ¯ÖÛú (iv) ×¾Ö¾ÖêÛú
Ûæú™ü : (a) (b) (c) (d) (A) (ii) (iv) (i) (iii) (B) (i) (ii) (iii) (iv) (C) (ii) (iii) (iv) (i) (D) (iii) (ii) (i) (iv)
21. ÃÖæ“Öß-I ÛúÖê ÃÖæ“Öß-II Ûêú ÃÖÖ£Ö ÃÖã´Öê×»ÖŸÖ Ûúßו֋ : ÃÖæ“Öß – I ÃÖæ“Öß – II
(a) ÀÖÓéÝÖÖ¸ü¯ÖÏõÖ (i) ÃÖÖÝÖ¸ü®Ö®¤üß (b) †×³Ö®ÖµÖ ¤ü¯ÖÔÞÖ (ii) ³ÖÖê•Ö (c) ®Ö韵ÖÖ¬µÖÖµÖ (iii) ®Ö®¤üßÛêú¿¾Ö¸ü (d) ®ÖÖ™üÛú »ÖõÖÞÖ
¸üŸ®ÖÛúÖêÂÖ (iv) †¿ÖÖêÛú ´Ö»»Ö
Ûæú™ü : (a) (b) (c) (d)
(A) (iii) (iv) (ii) (i)
(B) (iv) (i) (ii) (iii)
(C) (ii) (iii) (iv) (i)
(D) (i) (ii) (iii) (iv)
Paper-III 6 J-65-12
22. Assertion (A) : Bharata has elaborated four aspects of Abhinaya Viz. Angik Vachik, Sātvik and Āhārya.
Reason (R) : He has composed the famous shloka ‘Angika Bhuvanam Yasya’…..
Codes:
(A) Both (A) and (R) are false.
(B) (A) is true (R) is false.
(C) Both (A) and (R) are true.
(D) (A) is false (R) is true.
23. Which is correct sequence ?
(A) Dhananjay, Bhoja, Sāgarnandin, Shārdatanaya, Vishvanāth
(B) Bhoja, Sāgarnandin, Vishvdatanāth, Dhananjay, Shārdatanaya
(C) Sagarnandin, Shārdatanaya, Dhananjay, Vishvanāth, Bhoja
(D) Vishvanāth, Bhoja, Sāgarnandin, Shārdatanaya, Sāgarandin
24. The famous post-Nātyaśāstric text which does not believe that each and every Rasa gives blissful experience.
(A) Sahitya Darpan. a
(B) Nātya Darpan. a
(C) Bhāv Prakāśan
(D) Sangit Ratnākar
25. Which of the following pairs is not correctly matched ?
(A) Rupaka – Dhananjay
(B) Sandhi – Matrugupta
(C) Garbhānka – Sāhitya Darpana
(D) Nātyokti – Nandikeshwar
26. Who is the well known composer of music ?
(A) Girish Karnad
(B) Sri Mutthuswamy Dixita
(C) Bhimsen Joshi
(D) Sonal Mansingh
27. Select the correct pair
(A) Kapi – Nata
(B) Kalyani – Bhairav
(C) Abeheri – Bheempalas
(D) Yamman – Mayamalavagowla
28. Match the List – I with List – II List – I List – II
(a) Mrudangam (i) Tantu vadya (b) Sitar (ii) Wind
instrument (c) Flute (iii) Metal (d) Gejje (iv) Percussion
Codes : (a) (b) (c) (d) (A) (iv) (i) (ii) (iii) (B) (iii) (ii) (i) (iv) (C) (ii) (i) (iv) (iii) (D) (i) (iv) (iii) (ii)
29. Match items in List – I with List – II List – I List – II
(a) Cambodia (i) Gaisha (b) Japan (ii) Bharata Guru (c) Bali (iii) Angakorvat (d) Thailand (iv) Wooden masks
Codes : (a) (b) (c) (d) (A) (iii) (i) (iv) (ii) (B) (iii) (ii) (i) (iv) (C) (ii) (i) (iii) (iv) (D) (i) (ii) (iii) (iv)
30. Pick the odd one out. The choreographers and directors
known for using both idioms of dance and theatre in their productions are
(A) E. Alkazi (B) Ratan Thaiyam (C) Mrinalini Sarabhai (D) Uday Shankar
31. Identify the correct sequence : (A) Leelavati, Angika, Draupadi,
Stree (B) Angika, Leelavati, Draupadi,
Stree (C) Leelavati, Angika, Stree,
Draupadi (D) Leelavati, Draupadi, Angika,
Stree
32. Assertion (A) : Chhau and Kalaripayatu are now used both in dance and theatre.
Reason (R) : Both forms provide muscular strength and concentration of mind.
Codes : (A) (A) is true (R) is false. (B) (A) is false (R) is true. (C) (A) is false (R) is false. (D) (A) is true (R) is true.
J-65-12 7 Paper-III
22. Ûú£Ö®Ö (A) : ³Ö¸üŸÖ ®Öê †×³Ö®ÖµÖ Ûêú “ÖÖ¸ü ¯ÖÆü»Öæ ²ÖŸÖÖ‹Ñ Æïü – †ÖÓ×ÝÖÛú, ¾ÖÖדÖÛú, ÃÖÖן¾ÖÛú, †Öî ü †ÖÆüÖµÖÔ
ÛúÖ¸üÞÖ (R) : ˆ®ÆüÖë®Öê “†Ó×ÝÖÛúÖ ³Öã¾Ö®Ö´ÖË µÖõ֔ ®ÖÖ´ÖÛú ¯ÖÏ×ÃÖ¨ü ¿»ÖÖêÛú Ûúß ¸ü“Ö®ÖÖ Ûúß Æîü …
ÛúÖê›ü : (A) (A) †Öî¸ü (R) ¤üÖê®ÖÖë †ÃÖŸµÖ Æïü …
(B) (A) ÃÖŸµÖ Æîü (R) †ÃÖŸµÖ Æîü …
(C) (A) †Öî¸ü (R) ¤üÖê®ÖÖë ÃÖŸµÖ Æïü …
(D) (A) †ÃÖŸµÖ Æîü (R) ÃÖŸµÖ Æîü …
23. ÃÖÆüß ÛÎú´Ö ŒµÖÖ Æîü ?
(A) ¬Ö®ÖÓ•ÖµÖ, ³ÖÖê•Ö, ÃÖÖÝÖ¸ü®Ö®¤üß, ¿ÖÖ¸ü¤üÖŸÖ®ÖµÖ, ×¾Ö¿¾Ö®ÖÖ£Ö
(B) ³ÖÖê•Ö, ÃÖÖÝÖ¸ü®Ö®¤üß, ×¾Ö¿¾Ö®ÖÖ£Ö, ¬Ö®ÖÓ•ÖµÖ, ¿ÖÖ¸ü¤üÖŸÖ®ÖµÖ
(C) ÃÖÖÝÖ¸ü®Ö®¤üß, ¿ÖÖ¸ü¤üÖŸÖ®ÖµÖ, ¬Ö®ÖÓ•ÖµÖ, ×¾Ö¿¾Ö®ÖÖ£Ö, ³ÖÖê•Ö
(D) ×¾Ö¿¾Ö®ÖÖ£Ö, ³ÖÖê•Ö, ÃÖÖÝÖ¸ü®Ö®¤üß, ¿ÖÖ¸ü¤üÖŸÖ®ÖµÖ, ÃÖÖÝÖ¸ü®Ö®¤üß
24. ˆ¢Ö¸ü ®ÖÖ™ü¶¿ÖÖáÖßµÖ ¯ÖÖšËüµÖ ‡ÃÖ ²ÖÖŸÖ ´Öë ×¾Ö¿¾ÖÖÃÖ ®ÖÆüà Ûú¸üŸÖê Æïü ×Ûú ¯ÖÏŸµÖêÛú ¸üÃÖ †Ö®Ö®¤ü´ÖµÖ †®Öã³Ö¾Ö ¯ÖϤüÖ®Ö Ûú¸üŸÖê Æïü
(A) ÃÖÖ×ÆüŸµÖ ¤ü¯ÖÔÞÖ (B) ®ÖÖ™ËüµÖ ¤ü¯ÖÔÞÖ (C) ³ÖÖ¾Ö ¯ÖÏõÖÞÖ (D) ÃÖÓÝÖßŸÖ ¸üŸ®ÖÖÛú¸ü
25. ×®Ö´®Ö×»Ö×ÜÖŸÖ ´Öë ÃÖê ÛúÖî®Ö ÃÖÖ µÖãÝ´Ö ÃÖÆüß ®ÖÆüà ×´Ö»ÖÖµÖÖ ÝÖµÖÖ Æîü ?
(A) ºþ¯ÖÛú – ¬Ö®ÖÓ•ÖµÖ (B) ÃÖ×®¬Ö – ´ÖÖŸÖéÝÖã¯ŸÖ (C) ÝÖ³ÖÖÕÛú – ÃÖÖ×ÆüŸµÖ ¤ü¯ÖÔÞÖ (D) ®ÖÖ™ËüµÖÖê׌ŸÖ – ®Ö®¤üßÛêú¿¾Ö¸ü
26. ÃÖÓÝÖßŸÖ Ûêú •ÖÖ®Öê ´ÖÖ®Öê ¸ü“Ö®ÖÖÛúÖ¸ü ÛúÖî®Ö Æïü ?
(A) ×ÝÖ¸üß¿Ö Ûú®ÖÖÔ›ü (B) ÁÖß ´Ö㟣ÖãþÖÖ´Öß ¤üß×õÖŸÖ (C) ³Öß´ÖÃÖê®Ö •ÖÖê¿Öß (D) ÃÖÖê®Ö»Ö ´ÖÖ®ÖØÃÖÆü
27. ÃÖÆüß µÖãÝ´Ö ÛúÖ “ÖµÖ®Ö Ûú ëü : (A) ÛúÖ¯Öß – ®ÖÖ™üÖ (B) Ûú»µÖÖÞÖß – ³Öî¸ü¾Ö (C) †²ÖêÆêü¸üß – ³Öß´Ö¯Ö»ÖÖÃÖ (D) µÖ´Ö®Ö – ÖÖµÖÖ´ÖÖ»Ö¾ÖÖ ÝÖÖê¾Ö»ÖÖ
28. ÃÖæ“Öß-I ÛúÖê ÃÖæ“Öß-II Ûêú ÃÖÖ£Ö ÃÖã´Öê×»ÖŸÖ Ûúßו֋ : ÃÖæ“Öß – I ÃÖæ“Öß – II
(a) ´Öé¤ÓüÝÖ´Ö (i) ŸÖ®ŸÖã ¾ÖÖª
(b) ×ÃÖŸÖÖ¸ü (ii) ؾ֛ü ‡®Ã™çü´Öê®™ü (c) °»Öæ™ü (²ÖÖÓÃÖã üß) (iii) ´Öê™ü»Ö (d) ÝÖê•Ö‡Ô (iv) ¯Ö¸üÛËú¿Ö®Ö
(ŸÖÖ»Ö¾ÖÖª) Ûæú™ü : (a) (b) (c) (d) (A) (iv) (i) (ii) (iii) (B) (iii) (ii) (i) (iv) (C) (ii) (i) (iv) (iii) (D) (i) (iv) (iii) (ii)
29. ÃÖæ“Öß-I ÛúÖê ÃÖæ“Öß-II Ûêú ÃÖÖ£Ö ÃÖã´Öê×»ÖŸÖ Ûúßו֋ : ÃÖæ“Öß – I ÃÖæ“Öß – II
(a) Ûú´²ÖÖê×›üµÖÖ (i) ÝÖî¿ÖÖ (b) •ÖÖ¯ÖÖ®Ö (ii) ³Ö¸üŸÖÝÖã¹ý (c) ²ÖÖ»Öß (iii) †ÓÝÖÛúÖê¸ü¾ÖÖŸÖ (d) £ÖÖ‡Ô»Öï›ü (iv) ¾Öã›ü®Ö ´ÖÖÃÛú
Ûæú™ü : (a) (b) (c) (d) (A) (iii) (i) (iv) (ii) (B) (iii) (ii) (i) (iv) (C) (ii) (i) (iii) (iv) (D) (i) (ii) (iii) (iv)
30. ×¾ÖÂÖ´Ö ÛúÖê “Öã×®Ö‹ : †¯Ö®Öß ¸ü“Ö®ÖÖ†Öë ´Öë ®ÖéŸµÖ †Öî¸ü ¸ÓüÝÖ´ÖÓ“Ö ¤üÖê®ÖÖë ÛúÖ
¯ÖϵÖÖêÝÖ Ûú¸ü®Öê Ûêú ×»Ö‹ •ÖÖê ®Ö韵ÖÛúÖ¸ü †Öî¸ü ×®Ö¤ìü¿ÖÛú •ÖÖ®Öê •ÖÖŸÖê Æïü, ¾ÖÆü Æïü
(A) ‡Ô. †»ÖÛúÖ•ÖÌß (B) ¸üŸÖ®Ö £ÖîµÖ´Ö (C) ´ÖéÞÖÖ×»Ö®Öß ÃÖÖ üÖ³ÖÖ‡Ô (D) ˆ¤üµÖ ¿ÖÓÛú¸ü
31. ÃÖÆüß ÛÎú´Ö ²ÖŸÖÖ‹Ñ : (A) »Öß»ÖÖ¾ÖŸÖß, †Ó×ÝÖÛúÖ, ¦üÖî¯Ö¤üß, áÖß (B) †Ó×ÝÖÛúÖ, »Öß»ÖÖ¾ÖŸÖß, ¦üÖî¯Ö¤üß, áÖß (C) »Öß»ÖÖ¾ÖŸÖß, †Ó×ÝÖÛúÖ, áÖß, ¦üÖî¯Ö¤üß (D) »Öß»ÖÖ¾ÖŸÖß, ¦üÖî¯Ö¤üß, †Ó×ÝÖÛúÖ, áÖß
32. Ûú£Ö®Ö (A) : †²Ö Ûú»Ö׸ü¯ÖµÖŸÖã †Öî ü ”û‰ú ÛúÖ ®ÖéŸµÖ †Öî ü ÓüÝÖ´ÖÓ“Ö ¤üÖê®ÖÖë ´Öë ¯ÖϵÖÖêÝÖ ×ÛúµÖÖ •ÖÖŸÖÖ Æîü …
ÛúÖ¸üÞÖ (R) : µÖê ¤üÖê®ÖÖë Æüß ºþ¯Ö ´ÖÖÓÃÖ¯Öê¿ÖßµÖ ÛúÖê ´Ö•Ö̲ÖæŸÖ †Öî¸ü ´Ö×ßÖÂÛú ÛúÖê ‹ÛúÖÝÖÏŸÖÖ ¯ÖϤüÖ®Ö Ûú¸üŸÖê Æïü …
Ûæú™ü : (A) (A) ÃÖŸµÖ Æîü (R) †ÃÖŸµÖ Æîü … (B) (A) †ÃÖŸµÖ Æîü (R) ÃÖŸµÖ Æîü … (C) (A) †ÃÖŸµÖ Æîü (R) †ÃÖŸµÖ Æîü … (D) (A) ÃÖŸµÖ Æîü (R) ÃÖŸµÖ Æîü …
Paper-III 8 J-65-12
33. Pick the odd one out : (A) Udiyanam
(B) Vesthi
(C) Mangemala
(D) Mekhala Chaddar
34. Assertion (A) : It is expected of artists to experiment and be creative.
Reason (R) : The fusion of forms is the easy way to stardom.
Codes :
(A) (A) is true (R) is false.
(B) (A) is false (R) is true.
(C) (A) is false (R) is false.
(D) (A) is true (R) is true.
35. ‘The movement is silence’ is practiced in
(A) Noh
(B) Lakhon
(C) Sirimpi
(D) Kabuki
36. Match items in List – I with List – II
List – I List – II
(a) Amal Allana (i) Theatre
(b) Santa Sarbjit Singh (ii) NSD
(c) Neelam Manish Chaudhari
(iii) SNA
(d) Manjari Sinha (iv) Critic
Codes :
(a) (b) (c) (d)
(A) (ii) (iii) (i) (iv)
(B) (ii) (iii) (iv) (i)
(C) (i) (ii) (iii) (iv)
(D) (iv) (iii) (ii) (i)
37. SPICMACAY stands for
(A) Society for Performance of Indian classical Music and Culture Amongst Youth
(B) Society for Performance of Indian Classical Music and Culinary Arts Amongst Youth
(C) Society for Promotion of Indian Classical Music and Culture Amongst Youth
(D) Society for Promotion of Indian Classical Magic and Culture Amongst Youth
38. The 2012 ‘Padma Vibhushan’ was awarded to
(A) Prof. K. G. Subramaniam
(B) Dr. Bhupen Hazarika
(C) Khaled Chaudhari
(D) Devanand
39. Who is identified as intangible cultural
heritage by UNESCO ?
(A) Chandralekha
(B) Yakshagana
(C) Mani Madhav Chakiyar
(D) Pt. Birju Maharaj
40. Match items in List – I with List – II
List – I List – II
(a) Broadway (i) Mumbai
(b) NCPA (ii) New Delhi
(c) Opera (iii) New York
(d) Siri Fort
Theatre
(iv) Paris
Codes :
(a) (b) (c) (d)
(A) (i) (ii) (iii) (iv)
(B) (iii) (i) (iv) (ii)
(C) (i) (iii) (ii) (iv)
(D) (iv) (iii) (ii) (i)
41. Assertion (A) : The modern and
classical dance and theatre go
hand in hand.
Reason (R) : Ramayana is performed
differently.
Codes :
(A) (A) is true (R) is false.
(B) (A) is false (R) is true.
(C) (A) is false (R) is false.
(D) (A) is true (R) is true.
42. Pick the odd one out :
The 2012 Padmashree awardees is
(A) Satish Alekar
(B) Yamunabai Waikar
(C) M. S. Gopalkrishna
(D) Sakarkhan Manganiar
J-65-12 9 Paper-III
33. ×¾ÖÂÖ´Ö ÛúÖê “Öã×®Ö‹ : (A) ˆ×¤üµÖÖ®Ö´Ö (B) ¾Öêךü (C) ´ÖÖÓÝÖê´ÖÖ»ÖÖ (D) ´ÖêÜÖ»ÖÖ “Ö§ü¸ü
34. Ûú£Ö®Ö (A) : Ûú»ÖÖÛúÖ¸üÖë ÃÖê µÖÆü †Ö¿ÖÖ Ûúß •ÖÖŸÖß Æîü ×Ûú ¾Öê ¯ÖϵÖÖêÝÖ Ûú ëü †Öî¸ü ÃÖé•Ö®ÖÖŸ´ÖÛú ¸üÆëü …
ÛúÖ¸üÞÖ (R) : ºþ¯ÖÖë ÛúÖ ×¾Ö»ÖµÖ®Ö Ã™üÖ¸ü›ü´Ö ÛúÖ †ÖÃÖÖ®Ö ŸÖ¸üßÛúÖ Æîü …
Ûæú™ü : (A) (A) ÃÖŸµÖ Æîü (R) †ÃÖŸµÖ Æîü …
(B) (A) †ÃÖŸµÖ Æîü (R) ÃÖŸµÖ Æîü …
(C) (A) †ÃÖŸµÖ Æîü (R) †ÃÖŸµÖ Æîü …
(D) (A) ÃÖŸµÖ Æîü (R) ÃÖŸµÖ Æîü …
35. “¤ü ´Öæ¾Ö´Öê®™ü ‡•ÖÌ ÃÖÖ‡»Öê®ÃÖ” ÛúÖ ¯ÖϵÖÖêÝÖ ×ÛúµÖÖ •ÖÖŸÖÖ Æîü ?
(A) ®ÖÖêÆü (B) »ÖÖÜÖÖê®Ö (C) ×ÃÖ¸üß´¯Öß (D) ÛúÖ²ÖãÛúß
36. ÃÖæ“Öß-I ÛúÖê ÃÖæ“Öß-II Ûêú ÃÖÖ£Ö ÃÖã´Öê×»ÖŸÖ Ûúßו֋ : ÃÖæ“Öß – I ÃÖæ“Öß – II
(a) †´Ö»Ö †»Ö®ÖÖ (i) ×£ÖµÖê™ü¸ü (b) ÃÖ®ŸÖ ÃÖ¸ü²Ö•ÖßŸÖ ØÃÖÆü (ii) ‹®Ö.‹ÃÖ.›üß (c) ®Öß»Ö´Ö ´Ö®Öß¿Ö “ÖÖî¬Ö¸üß (iii) ‹ÃÖ.‹®Ö.‹. (d) ´ÖÓ•Ö¸üß ×ÃÖ®ÆüÖ (iv) ×ÛÎú×™üÛú
Ûæú™ü : (a) (b) (c) (d) (A) (ii) (iii) (i) (iv) (B) (ii) (iii) (iv) (i) (C) (i) (ii) (iii) (iv) (D) (iv) (iii) (ii) (i)
37. ‹ÃÖ.¯Öß.†Ö‡Ô.ÃÖß.‹´Ö.‹.ÃÖß.‹.¾ÖÖ‡Ô (SPICMACAY) ÃÖê †×³Ö¯ÖÏÖµÖ Æîü
(A) ÃÖÖêÃÖÖ‡™üß ±úÖò ü ¯Ö¸ü±úÖò ü´Öê®ÃÖ †Öò±ú ‡Ó×›üµÖ®Ö Œ»ÖÖ×ÃÖÛú»Ö ´µÖæוÖÌÛú ‹®›ü Ûú»“Ö¸ü †ò´Ö®ÝÖÃÖ µÖæ£Ö
(B) ÃÖÖêÃÖÖ‡™üß ±úÖò ü ¯Ö¸ü±úÖò ü´Öê®ÃÖ †Öò±ú ‡Ó×›üµÖ®Ö Œ»ÖÖ×ÃÖÛú»Ö ´µÖæוÖÌÛú ‹ê®›ü ŒµÖæ×»Ö®Ö¸üß †Ö™ÔüÃÖ †ò´Ö®ÝÖÃÖ µÖæ£Ö
(C) ÃÖÖêÃÖÖ‡™üß ±úÖò ü ¯ÖÏ´ÖÖê¿Ö®Ö †Öò±ú ‡Ó×›üµÖ®Ö Œ»ÖÖ×ÃÖÛú»Ö ´µÖæוÖÌÛú ‹ê®›ü Ûú»“Ö¸ü †ò´Ö®ÝÖÃÖ µÖæ£Ö
(D) ÃÖÖêÃÖÖ‡™üß ±úÖò ü ¯ÖÏ´ÖÖê¿Ö®Ö †Öò±ú ‡Ó×›üµÖ®Ö Œ»ÖÖ×ÃÖÛú»Ö ´ÖîוÖÛú ‹ê®›ü Ûú»“Ö¸ü †ò´ÖÓÝÖ®ÃÖ µÖæ£Ö
38. ¾ÖÂÖÔ 2012 Ûêú ×»Ö‹ “¯Ö¤Ëü´Ö×¾Ö³ÖæÂÖÞÖ” ÃÖê ×ÛúÃÖÛúÖê ÃÖ´´ÖÖ×®ÖŸÖ ×ÛúµÖÖ ÝÖµÖÖ £ÖÖ ?
(A) ¯ÖÏÖê. Ûêú.•Öß.ÃÖã²ÖδÖÞµÖ´Ö (B) ›üÖò.³Öæ¯Öê®Ö Æü•ÖÌÖ׸üÛúÖ (C) ÜÖÖ»Öê¤ü “ÖÖî¬Ö¸üß (D) ¤êü¾ÖÖ®Ö®¤ü
39. UNESCO µÖæ®ÖêÃÛúÖê «üÖ¸üÖ ×ÛúÃÖê †´ÖæŸÖÔ ÃÖÖÓÃÛéúןÖÛú ×¾Ö¸üÖÃÖŸÖ ´ÖÖ®ÖÖ ÝÖµÖÖ Æîü ?
(A) “Ö®¦ü»ÖêÜÖÖ (B) µÖõÖÝÖÖ®Ö (C) ´Ö×ÞÖ ´ÖÖ¬Ö¾Ö “Ö×ÛúµÖÖ¸ü (D) ¯ÖÓ×›üŸÖ ײָü•Öæ ´ÖÆüÖ¸üÖ•Ö
40. ÃÖæ“Öß-I ÛúÖê ÃÖæ“Öß-II Ûêú ÃÖÖ£Ö ÃÖã´Öê×»ÖŸÖ Ûúßו֋ : ÃÖæ“Öß – I ÃÖæ“Öß – II
(a) ²ÖÎÖò›ü¾Öê (i) ´Öã´²Ö‡Ô (b) ‹®Ö.ÃÖß.¯Öß.‹. (ii) ®Ö‡Ô פü»»Öß (c) †Öò¯Öê¸üÖ (iii) ®µÖæ µÖÖÛÔú (d) ×ÃÖ¸üß ±úÖê™Ôü ×£ÖµÖê™ü¸ü (iv) ¯Öê׸üÃÖ
Ûæú™ü : (a) (b) (c) (d)
(A) (i) (ii) (iii) (iv)
(B) (iii) (i) (iv) (ii)
(C) (i) (iii) (ii) (iv)
(D) (iv) (iii) (ii) (i)
41. Ûú£Ö®Ö (A) : ®ÖéŸµÖ †Öî¸ü ¸ÓüÝÖ´ÖÓ“Ö ´Öë †Ö¬Öã×®ÖÛú †Öî¸ü ¿ÖÖáÖßµÖ ÃÖÖ£Ö-ÃÖÖ£Ö “Ö»ÖŸÖê Æïü …
ÛúÖ¸üÞÖ (R) : ‘¸üÖ´ÖÖµÖÞÖ’ ÛúÖê †»ÖÝÖ ŸÖ¸üÆü ÃÖê ¯ÖϤüÙ¿ÖŸÖ ×ÛúµÖÖ •ÖÖŸÖÖ Æîü …
Ûæú™ü : (A) (A) ÃÖŸµÖ Æîü (R) †ÃÖŸµÖ Æîü …
(B) (A) †ÃÖŸµÖ Æîü (R) ÃÖŸµÖ Æîü …
(C) (A) †ÃÖŸµÖ Æîü (R) †ÃÖŸµÖ Æîü …
(D) (A) ÃÖŸµÖ Æîü (R) ÃÖŸµÖ Æîü …
42. ×¾ÖÂÖ´Ö ÛúÖê “Öã×®Ö‹ : ¾ÖÂÖÔ 2012 Ûêú ×»Ö‹ ‘¯Ö¤Ëü´ÖÁÖß’ ÃÖê ÃÖ´´ÖÖ×®ÖŸÖ ×ÛúµÖÖ
ÝÖµÖÖ Æîü (A) ÃÖŸÖß¿Ö †»ÖêÛú¸ü (B) µÖ´Öã®ÖÖ²ÖÖ‡Ô ¾ÖêÛú¸ü (C) ‹´Ö.‹ÃÖ. ÝÖÖê¯ÖÖ»ÖÛéúÂÞÖ (D) ÃÖÛú¸üÜÖÖ®Ö ´ÖÓÝÖ×®ÖµÖÖ¸ü
Paper-III 10 J-65-12
43. Pick the odd one out :
The Universities with Departments of
Dance, Drama and Music are
(A) The M. S. University of Baroda
(B) Khairagarh University
(C) Ravindra Bharati University
(D) Jawaharlal Nehru University
44. Assertion (A) : The use of lights
brings out details in theatrical
performance.
Reason (R) : Because of make-up
lights are needed.
Codes : (A) (A) is true (R) is false.
(B) (A) is false (R) is true.
(C) (A) is false (R) is false.
(D) (A) is true (R) is true.
45. Match items in List – I with List – II
List – I List – II
(a) Pandawani (i) Philip zarilli
(b) Santwani (ii) Tijanbai
(c) Kudiattam (iii) Kanak Rele
(d) Kathakali (iv) Farley
Richmond
Codes : (a) (b) (c) (d)
(A) (iii) (i) (ii) (iii)
(B) (ii) (iv) (i) (iii)
(C) (ii) (iii) (iv) (i)
(D) (ii) (iii) (i) (iv)
46. Match the items in List – I with the
items in List – II.
List – I List – II
(a) Little Balet
Theatre
(i) Mysore
(b) Rangāyan (ii) Gul Bardhan
(c) Atta Kalari (iii) Maya Rao
(d) STEM
Theatre
(iv) Banglore
Codes : (a) (b) (c) (d)
(A) (i) (ii) (iii) (iv)
(B) (iv) (iii) (i) (ii)
(C) (ii) (i) (iv) (iii)
(D) (iii) (iv) (ii) (i)
47. Assertion (A) : Arts and Meida – it
seems they are old adversaries
with a long past of a love-hate
relationship.
Reason (R) : They have often been
considered to be in opposition to
each other or as mutually
exclusive.
Codes :
(A) Both (A) and (R) are false.
(B) (A) is true, (R) is false.
(C) (R) is true, (A) is false.
(D) Both (A) and (R) are true.
48. The most extensively used dance
notation system of the 20th
Cent. is by
(A) Jean Georges Noverre
(B) Rudolf Laban
(C) Alexander
(D) Elia Kazan
49. The Dance and Drama Institution
which has been proved a turning point
in the history of performing arts in
modern period
(A) INT
(B) IPTA
(C) NSD
(D) NCPA
50. Assertion (A) : Many new theatrical
productions are found more
suitable for projection in the
media paving the way for a
closer relation between theatre
and television.
Reason (R) : Our urban theatre has
also been drawing upon our
traditional sources more and
more, thus acquiring a new
artistic identify and thrust.
Codes :
(A) Both (A) and (R) are true.
(B) (A) is true, (R) is false.
(C) (R) is true, (A) is false.
(D) Both (A) and (R) are false.
J-65-12 11 Paper-III
43. ®Ö韵Ö, ®ÖÖ™üÛú †Öî¸ü ÃÖÓÝÖßŸÖ ×¾Ö³ÖÖÝÖÖë ¾ÖÖ»Öê ×¾Ö¿¾Ö ×¾ÖªÖ»ÖµÖ Æïü
(A) ²Ö›ÌüÖî¤üÖ ‹´Ö ‹ÃÖ ×¾Ö¿¾Ö×¾ÖªÖ»ÖµÖ (B) ÜÖî¸üÝÖœü ×¾Ö¿¾Ö×¾ÖªÖ»ÖµÖ (C) ¸ü¾Öß®¦ü ³ÖÖ¸üŸÖß ×¾Ö¿¾Ö×¾ÖªÖ»ÖµÖ (D) •Ö¾ÖÖÆü¸ü »ÖÖ»Ö ®ÖêÆüºþ ×¾Ö¿¾Ö×¾ÖªÖ»ÖµÖ
44. Ûú£Ö®Ö (A) : ¸ÓüÝÖ´ÖÓ“ÖßµÖ ×´Öšü¯ÖÖ¤ü®Ö ´Öë ¯ÖÏÛúÖ¿Ö Ûêú ¯ÖϵÖÖêÝÖ ÃÖê ²ÖÖ¸üß×ÛúµÖÖÓ ¯ÖÏÛú™ü ÆüÖêŸÖß Æïü …
ÛúÖ¸üÞÖ (R) : ŒµÖÖë×Ûú ´ÖêÛú†¯Ö »ÖÖ‡™ü Ûúß †Ö¾Ö¿µÖÛúŸÖÖ ÆüÖêŸÖß Æîü …
Ûæú™ü : (A) (A) ÃÖŸµÖ Æîü (R) †ÃÖŸµÖ Æîü …
(B) (A) †ÃÖŸµÖ Æîü (R) ÃÖŸµÖ Æîü …
(C) (A) †ÃÖŸµÖ Æîü (R) †ÃÖŸµÖ Æîü …
(D) (A) ÃÖŸµÖ Æîü (R) ÃÖŸµÖ Æîü …
45. ÃÖæ“Öß-I ÛúÖê ÃÖæ“Öß-II Ûêú ÃÖÖ£Ö ÃÖã´Öê×»ÖŸÖ Ûúßו֋ : ÃÖæ“Öß – I ÃÖæ“Öß – II
(a) ¯ÖÓ›üÖ¾Ö®Öß (i) ×±ú×»Ö¯Ö •ÖÌ îü»Öß (b) ÃÖ®ŸÖÖ¾Ö®Öß (ii) ŸÖß•Ö®Ö ²ÖÖ‡Ô (c) Ûãú×›ü†Ö™Ëü™ü´Ö (iii) Ûú®ÖÛú ¸êü»Öê (d) ÛúŸ£ÖÛú×»Ö (iv) ±úÖ»Öì ׸ü“Ö´ÖÖò®›ü
Ûæú™ü : (a) (b) (c) (d)
(A) (iii) (i) (ii) (iii)
(B) (ii) (iv) (i) (iii)
(C) (ii) (iii) (iv) (i)
(D) (ii) (iii) (i) (iv)
46. ÃÖæ“Öß-I ÃÖê ÃÖæ“Öß-II ÛúÖ ×´Ö»ÖÖ®Ö Ûúßו֋ : ÃÖæ“Öß – I ÃÖæ“Öß – II
(a) ×»Ö×™ü»Ö ²Öî»Öê ×£ÖµÖê™ü¸ü
(i) ´ÖîÃÖæ¸ü
(b) ¸ÓüÝÖµÖ®Ö (ii) ÝÖã»Ö²Ö¬ÖÔ®Ö (c) †¼üÖÛú»Ö¸üß (iii) ´ÖÖµÖÖ¸üÖ¾Ö (d) Ùêü´Ö ×£ÖµÖê™ü¸ü (iv) ²ÖÓÝÖ»ÖÖê¸ü
Ûæú™ü : (a) (b) (c) (d)
(A) (i) (ii) (iii) (iv)
(B) (iv) (iii) (i) (ii)
(C) (ii) (i) (iv) (iii)
(D) (iii) (iv) (ii) (i)
47. Ûú£Ö®Ö (A) : ‹êÃÖÖ ¯ÖÏŸÖßŸÖ ÆüÖêŸÖÖ Æîü ×Ûú †¯Ö®Öê ¸üÖÝÖ «êüÂÖ Ûêú דָüÛúÖ»Öß®Ö ¯ÖÖ¸üïÖ׸üÛú ÃÖ´²ÖÓ¬Ö Ûêú ÛúÖ¸üÞÖ Ûú»ÖÖ †Öî¸ü ÃÖÓ“ÖÖ¸ü ´ÖÖ¬µÖ´Ö ‹Ûú ¤æüÃÖ¸êü Ûêú ¯ÖÏןÖï֬Öá Æïü …
ÛúÖ¸üÞÖ (R) : ‡®Æëü ¯ÖÏÖµÖ: ‹Ûú ¤æüÃÖ¸êü ÛúÖ ×¾Ö¸üÖê¬Öß µÖÖ ¯Ö¸üïָü ¾µÖÖ¾ÖŸÖÔÛú ´ÖÖ®ÖÖ ÝÖµÖÖ Æîü …
Ûæú™ü : (A) (A) †Öî¸ü (R) ¤üÖê®ÖÖë †ÃÖŸµÖ Æïü …
(B) (A) ÃÖŸµÖ (R) †ÃÖŸµÖ Æîü …
(C) (R) ÃÖŸµÖ (A) †ÃÖŸµÖ Æîü …
(D) (A) †Öî¸ü (R) ¤üÖê®ÖÖë ÃÖŸµÖ Æïü …
48. 20¾Öà ÃÖ¤üà ´Öë ÃÖ²ÖÃÖê •µÖÖ¤üÖ ¯ÖϵÖÖêÝÖ ÆüÖê®Öê ¾ÖÖ»Öß ®ÖéŸµÖ ×»Ö×¯Ö ¯Ö¨ü×ŸÖ ²Ö®ÖÖµÖß Æîü
(A) •µÖÖÓ •ÖÖ•ÖìÃÖ ®ÖÖ¾Öê ü (B) ¹ý›üÖ»±ú »ÖÖ²ÖÖ®Ö (C) ‹»ÖŒÃÖ•ÖÖÓ›ü¸ü (D) ‹×»ÖµÖÖ Ûú•ÖÖ®Ö
49. ®ÖéŸµÖ †Öî¸ü ®ÖÖ™üÛú ÃÖÓãÖÖ®Ö, וÖÃÖÛêú ÛúÖ¸üÞÖ †Ö¬Öã×®ÖÛú ÃÖ´ÖµÖ ´Öë ÓüÝÖ´ÖÓ“Ö Ûú»ÖÖ†Öë Ûêú ‡×ŸÖÆüÖÃÖ ´Öë ®ÖµÖÖ ´ÖÖê›Ìü †ÖµÖÖ Æîü
(A) †Ö‡Ô.‹®Ö.™üß. (INT) (B) †Ö‡Ô.¯Öß.™üß.‹. (IPTA) (C) ‹®Ö.‹ÃÖ.›üß. (NSD) (D) ‹®Ö.ÃÖß.¯Öß.‹. (NCPA)
50. Ûú£Ö®Ö (A) : ²ÖÆãüŸÖ ÃÖê ®Ö‹ ¸ÓüÝÖ´ÖÓ“ÖßµÖ ¯ÖÏßÖãŸÖßÛú¸üÞÖ ÃÖÓ“ÖÖ¸ü ´ÖÖ¬µÖ´Ö Ûêú ×»Ö‹ ˆ¯ÖµÖãŒŸÖ ¯ÖÖ‹ ÝÖ‹ Æïü, ו֮ÆüÖë®Öê ¸ÓüÝÖ´ÖÓ“Ö †Öî¸ü ¤æü¸ü¤ü¿ÖÔ®Ö Ûêú ²Öß“Ö ‘Ö×®Öšü ÃÖ´²Ö®¬Ö ²Ö®ÖÖ®Öê ÛúÖ üÖßÖÖ ×®ÖÛúÖ»ÖÖ Æîü …
ÛúÖ¸üÞÖ (R) : Æü´ÖÖ¸üÖ ¿ÖÆü¸üß ÓüÝÖ´ÖÓ“Ö ¯Ö¸ü´¯Ö¸üÖÝÖŸÖ ÄÖÖêŸÖÖë ÛúÖê ³Öß †×¬ÖÛúÖ׬ÖÛú »ÖêŸÖÖ ¸üÆüÖ Æîü וÖÃÖÃÖê ‡ÃÖê ‹Ûú ®ÖµÖß Ûú»ÖÖŸ´ÖÛú ¯ÖÆü“ÖÖ®Ö †Öî¸ü ²Ö»Ö ¯ÖÏÖ¯ŸÖ Æãü†Ö Æîü …
Ûæú™ü : (A) (A) †Öî¸ü (R) ¤üÖê®ÖÖë ÃÖŸµÖ Æïü …
(B) (A) ÃÖŸµÖ Æîü (R) †ÃÖŸµÖ Æîü …
(C) (R) ÃÖŸµÖ Æîü (A) †ÃÖŸµÖ Æîü …
(D) (A) †Öî¸ü (R) ¤üÖê®ÖÖë †ÃÖŸµÖ Æïü …
Paper-III 12 J-65-12
51. Prabandha in dance today is similar to
(A) Gotipua Nrutya
(B) Kathakali Vesha
(C) Sankirtan
(D) Margam
52. Match items in List – I with List – II.
List – I List – II
(a) Marg (i) ICCR
(b) Shruti (ii) SNA
(c) Sangana (iii) Arts magazine
(d) Horizons (iv) Chennai
Codes :
(a) (b) (c) (d)
(A) (iii) (iv) (i) (ii)
(B) (iv) (ii) (iii) (i)
(C) (iii) (ii) (iv) (i)
(D) (iii) (iv) (ii) (i)
53. How many Matras are for Sankirna Jati
Dhruva Tala ?
(A) 29
(B) 14
(C) 10
(D) 27
54. Pick the odd one out :
The Chapu Tala is
(A) of 5, 7 matras
(B) of unequal division
(C) used both in dance and music
(D) used in Ravindra Sangit
55. Match items in List – I with List – II
List – I List – II
(a) Chenda (i) Kathak
(b) Pakhavaj (ii) Kathakali
(c) Maddalam (iii) Manipuri
(d) Sitar (iv) Mohiniattam
Codes :
(a) (b) (c) (d)
(A) (iv) (iii) (i) (ii)
(B) (iv) (iii) (ii) (i)
(C) (iv) (ii) (iii) (i)
(D) (iv) (i) (ii) (iii)
56. Identify the correct order :
(A) Bihu, Lambadi, Jatra, Kolattam
(B) Bihu, Jatra, Lambadi, Kolattam
(C) Jatra, Bihu, Lambadi, Kolattam
(D) Jatra, Bihu, Kolattam, Lambadi
57. Kshetrigya Padam is sung in the speed
(A) Very slow
(B) Slow
(C) Medium
(D) Dhrut
58. Assertion (A) : Vishnuddharmottara
Purana is in praise of Vishnu.
Reason (R) : It shows the inter-
relationship of all arts.
Codes :
(A) (A) is false (R) is true.
(B) (A) is false (R) is false.
(C) (A) is true (R) is true.
(D) (A) is true (R) is false.
PART – II
DANCE
J-65-12 13 Paper-III
51. †Ö•Ö ®ÖéŸµÖ ´Öë ¯Öϲ֮¬Ö ÃÖ´ÖÖ®Ö Æîü
(A) ÝÖÖê™ü߯Öã†Ö ®Ö韵Ö
(B) ÛúŸ£ÖÛú×»Ö ¾Öê¿ÖÖ
(C) ÃÖÓÛúߟÖÔ®Ö
(D) ´ÖÖÝÖÔ´Ö
52. ÃÖæ“Öß-I ÛúÖê ÃÖæ“Öß-II Ûêú ÃÖÖ£Ö ÃÖã´Öê×»ÖŸÖ Ûú¸ëü :
ÃÖæ“Öß – I ÃÖæ“Öß – II
(a) ´ÖÖÝÖÔ (i) †Ö‡Ô.ÃÖß.ÃÖß.†Ö¸ü.
(b) ÁÖã×ŸÖ (ii) ‹ÃÖ.‹®Ö.‹.
(c) ÃÖÓÝÖ®ÖÖ (iii) †Ö™ÔËüÃÖ ´ÖîÝÖ•ÖÌß®Ö
(d) ÆüÖî¸üÖ‡•Ö®Ö (iv) “Öê®®Ö‡Ô
Ûæú™ü :
(a) (b) (c) (d)
(A) (iii) (iv) (i) (ii)
(B) (iv) (ii) (iii) (i)
(C) (iii) (ii) (iv) (i)
(D) (iii) (iv) (ii) (i)
53. ÃÖÓÛúß®ÖÔ •ÖÖ×ŸÖ ¬ÖÐã¾Ö ŸÖÖ»Ö Ûêú ×»Ö‹ ×ÛúŸÖ®Öß ´ÖÖ¡ÖÖ‹Ñ ÆüÖêŸÖß Æïü ?
(A) 29
(B) 14
(C) 10
(D) 27
54. ×¾ÖÂÖ´Ö ÛúÖê “Öã×®Ö‹ :
”ûÖ¯Öæ ŸÖÖ»Ö ´Öë ÆüÖêŸÖß Æïü
(A) 5, 7 ´ÖÖ¡ÖÖ‹Ñ
(B) †ÃÖ´ÖÖ®Ö ×¾Ö³ÖÖ•Ö®Ö
(C) ®ÖéŸµÖ †Öî ü ÃÖÓÝÖßŸÖ ¤üÖê®ÖÖë ´Öë ¯ÖϵÖÖêÝÖ
(D) ¸ü¾Öß®¦üü ÃÖÓÝÖßŸÖ ´Öë ¯ÖϵÖÖêÝÖ
55. ÃÖæ“Öß-I ÛúÖê ÃÖæ“Öß-II Ûêú ÃÖÖ£Ö ÃÖã´Öê×»ÖŸÖ Ûúßו֋ : ÃÖæ“Öß – I ÃÖæ“Öß – II
(a) ”êû®¤üÖ (i) ÛúŸ£ÖÛú (b) ¯ÖÜÖÖ¾Ö•ÖÌ (ii) ÛúŸ£ÖÛú×»Ö (c) ´Ö›Ëü›ü»Ö´Ö (iii) ´Ö×ÞÖ¯Öã¸üß (d) ×ÃÖŸÖÖ¸ü (iv) ´ÖÖê×Æü®Öß †¼ü´Ö
Ûæú™ü :
(a) (b) (c) (d)
(A) (iv) (iii) (i) (ii)
(B) (iv) (iii) (ii) (i)
(C) (iv) (ii) (iii) (i)
(D) (iv) (i) (ii) (iii)
56. ÃÖÆüß ÛÎú´Ö ŒµÖÖ Æîü ?
(A) ײÖÆãü, »Ö´²ÖÖ›üß, •ÖÖ¡ÖÖ, ÛúÖê»Ö¼ü´Ö
(B) ײÖÆãü, •ÖÖ¡ÖÖ, »Ö´²ÖÖ›üß, ÛúÖê»Ö¼ü´Ö
(C) •ÖÖ¡ÖÖ, ײÖÆãü, »Ö´²ÖÖ›üß, ÛúÖê»Ö¼ü´Ö
(D) •ÖÖ¡ÖÖ, ײÖÆãü, ÛúÖê»Ö¼ü´Ö, »Ö´²ÖÖ›üß
57. õÖê×¡Ö–Ö ¯Ö¤Ëü´Ö ×ÛúÃÖ ÝÖ×ŸÖ ÃÖê ÝÖÖµÖÖ •ÖÖŸÖÖ Æîü ?
(A) ²ÖÆãüŸÖ ¬Öß êü
(B) ¬Ö߸êü
(C) ´Ö¬µÖ´Ö
(D) ¦ãüŸÖ
58. Ûú£Ö®Ö (A) : ×¾ÖÂÞÖã ¬Ö´ÖÖì¢Ö¸üÖ ¯Öã¸üÖÞÖ ´Öë ×¾ÖÂÞÖã Ûúß ÃŸÖã×ŸÖ Ûúß ÝÖ‡Ô Æîü …
ÛúÖ¸üÞÖ (R) : µÖÆü ÃÖ´ÖÃŸÖ Ûú»ÖÖ†Öë ÛúÖ †®ŸÖ: ÃÖ´²Ö®¬Ö ¯ÖϤüÙ¿ÖŸÖ Ûú¸üŸÖÖ Æîü …
Ûæú™ü :
(A) (A) †ÃÖŸµÖ Æîü †Öî¸ü (R) ÃÖŸµÖ Æîü …
(B) (A) †ÃÖŸµÖ Æîü, (R) †ÃÖŸµÖ Æîü …
(C) (A) ÃÖŸµÖ Æîü, (R) ÃÖŸµÖ Æîü …
(D) (A) ÃÖŸµÖ Æîü (R) †ÃÖŸµÖ Æîü …
³ÖÖÝÖ – II
®Ö韵Ö
Paper-III 14 J-65-12
59. ‘The Traditions of Indian Folk
Theatre’ is written by
(A) Dr. Kapila Vatsyayan
(B) Dr. G. Venu
(C) Jivan Pani
(D) Keshav Kothari
60. Which one is not correctly matched ?
(A) ICCR – Dr. Suresh
Goyal
(B) SNA – R. N. Mirdha
(C) Kalakshetra – Leela
Sampson
(D) Kathak Kendra – Rajendra
Gangani
61. Match items in List – I with List – II.
List – I List – II
(a) Jakkadi (i) Tribal
(b) Mallari (ii) Folk
(c) Patua (iii) Bharatanatyam
(d) Powada (iv) Odissi
Codes :
(a) (b) (c) (d)
(A) (iii) (iv) (i) (ii)
(B) (iii) (ii) (iv) (i)
(C) (i) (iii) (ii) (iv)
(D) (i) (iii) (iv) (ii)
62. Assertion (A) : Tillana is same as the
Tarana.
Reason (R) : Tillana is performed in
fast speed at the end of a recital,
is rhythmic and exciting.
Codes :
(A) (A) is false (R) is false.
(B) (A) is false (R) is true.
(C) (A) is true (R) is false.
(D) (A) is true (R) is true.
63. Yakshagana is practiced by
(A) Jakkula
(B) Nangiar
(C) Alwars
(D) Bauls
64. Pick the odd one out :
(A) Nataraj Ramakrishna-Kuchipudi
(B) G. Venu- Nangiar Kuthu
(C) Menaka Thakkar- Odissi
(D) Kalavati Devi- Kshatriya
65. Mandakranta Bose is widely known
for her
(A) Odissi dance
(B) Scholarly work
(C) Creative choreography
(D) Dance school
66. The often used Hasta-s in
Bharatanatyam Nritya is
(A) Mayura
(B) Shikhara
(C) Kartarimukha
(D) None of above
67. Sehanai is similar to
(A) Tur
(B) Nadaswaram
(C) Pavo
(D) Clarinet
J-65-12 15 Paper-III
59. ‘¤ü ™Òêü›üß¿Ö®Ö †Öò±ú ‡Ó×›üµÖ®Ö ±úÖê»Ûú ×£ÖµÖê™ü¸ü’ Ûêú »ÖêÜÖÛú Æïü
(A) ›üÖò. ÛúׯֻÖÖ ¾ÖÖŸÃÖµÖÖµÖ®Ö
(B) ›üÖò. •Öß.¾ÖêÞÖã
(C) •Öß¾Ö®Ö ¯ÖÖ×ÞÖ
(D) Ûêú¿Ö¾Ö ÛúÖêšüÖ¸üß
60. ÛúÖî®Ö ÃÖÖ ÃÖÆüß ×´Ö»ÖŸÖÖ Æîü ?
(A) †Ö‡Ô.ÃÖß.ÃÖß.†Ö¸ü. – ›üÖò. ÃÖã êü¿Ö ÝÖÖêµÖ»Ö
(B) ‹ÃÖ.‹®Ö.‹. – †Ö¸ü ‹®Ö ×´Ö¬ÖÖÔ
(C) ÛúÖ»ÖõÖê¡Ö – »Öß»ÖÖ ÃÖî´¯ÖÃÖ®Ö
(D) Ûú£ÖÛú Ûêú®¦ü – ¸üÖ•Öꮦü ÝÖÓÝÖÖ®Öß
61. ÃÖæ“Öß-I ÛúÖê ÃÖæ“Öß-II Ûêú ÃÖÖ£Ö ÃÖã´Öê×»ÖŸÖ Ûú¸ëü :
ÃÖæ“Öß – I ÃÖæ“Öß – II
(a) •ÖŒÛú›üß (i) ™ÒüÖ‡²Ö»Ö
(b) ´Ö»»ÖÖ¸üß (ii) ±úÖê»Ûú
(c) ¯ÖŸÖã†Ö (iii) ³Ö¸üŸÖ ®ÖÖ™ü¶´Ö
(d) ¯ÖÖê¾ÖÖ›üÖ (iv) †Öê×›üÃÖß
Ûæú™ü :
(a) (b) (c) (d)
(A) (iii) (iv) (i) (ii)
(B) (iii) (ii) (iv) (i)
(C) (i) (iii) (ii) (iv)
(D) (i) (iii) (iv) (ii)
62. Ûú£Ö®Ö (A) : ןֻ»ÖÖ®ÖÖ †Öî¸ü ŸÖ¸üÖ®ÖÖ ‹Ûú Æïü …
ÛúÖ¸üÞÖ (R) : ןֻ»ÖÖ®ÖÖ ÝÖÖµÖ®Ö Ûêú †®ŸÖ ´Öë ŸÖê•ÖÌ ÝÖ×ŸÖ ÃÖê ¯Öæ üÖ ×ÛúµÖÖ •ÖÖŸÖÖ Æîü, »ÖµÖ²Ö¨ü †Öî¸ü ˆ¢Öê•ÖÛú ÆüÖêŸÖÖ Æîü …
Ûæú™ü :
(A) (A) †ÃÖŸµÖ Æîü, (R) †ÃÖŸµÖ Æîü …
(B) (A) †ÃÖŸµÖ Æîü, (R) ÃÖŸµÖ Æîü …
(C) (A) ÃÖŸµÖ Æîü, (R) †ÃÖŸµÖ Æîü …
(D) (A) ÃÖŸµÖ Æîü, (R) ÃÖŸµÖ Æîü …
63. µÖõÖÝÖÖ®Ö ×®Ö´®Ö×»Ö×ÜÖŸÖ «üÖ¸üÖ ×ÛúµÖÖ •ÖÖŸÖÖ Æîü :
(A) •ÖÖÛãú»ÖÖ
(B) ®ÖÖÓ×ÝÖµÖÖ¸ü
(C) †»Ö¾Ö¸üËÃÖ
(D) ²ÖÖˆ»ÃÖ
64. ×¾ÖÂÖ´Ö ÛúÖê “Öã×®Ö‹ :
(A) ®Ö™ü¸üÖ•Ö ¸üÖ´ÖÛéúÂÞÖ – Ûãúד֯Öã×›Ìü
(B) •Öß ¾ÖêÞÖã – ®ÖÖÓ×ÝÖµÖÖ¸ü Ûãú£Öã
(C) ´Öê®ÖÛúÖ šüŒÛú¸ü – †Öê×›üÃÖß
(D) Ûú»ÖÖ¾ÖŸÖß ¤êü¾Öß – õÖêסֵÖÖ
65. ´ÖÓ¤üÛÎúÖ®ŸÖÖ ²ÖÖêÃÖ ÃÖã¯ÖÏ×ÃÖ¨ü Æîü
(A) †Öê×›üÃÖß ®ÖéŸµÖ Ûêú ×»Ö‹
(B) ×¾Ö«üüŸÖÖ¯ÖæÞÖÔ ÛúÖµÖÔ Ûêú ×»Ö‹
(C) ÃÖ•ÖÔ®ÖÖŸ´ÖÛú ®Ö韵ָü“Ö®ÖÖ Ûêú ×»Ö‹
(D) ®ÖéŸµÖ ×¾ÖªÖ»ÖµÖ Ûêú ×»Ö‹
66. ³Ö¸üŸÖ®ÖÖ™ËüµÖ´Ö ®ÖéŸµÖ ´Öë ¯ÖÏÖµÖ: ‡ÃŸÖê´ÖÖ»Ö ×Ûú‹ •ÖÖ®Öê ¾ÖÖ»Öê ÆüÃŸÖ ÛúÖê ÛúÆüŸÖê Æïü
(A) ´ÖµÖæ¸ü
(B) ׿ÖÜÖ¸ü
(C) Ûú¸üŸÖÖ¸üß´ÖãÜÖ
(D) ˆ¯ÖµÖãÔŒŸÖ ´Öë ÃÖê ÛúÖê‡Ô ®ÖÆüà
67. ¿ÖÆü®ÖÖ‡Ô ×ÛúÃÖÛêú ÃÖ´ÖÖ®Ö Æîü ?
(A) ŸÖæ ü
(B) ®ÖÖ¤ü þָü´Ö
(C) ¯ÖÖ¾ÖÖê
(D) Œ»Öê üß®Öê™ü
Paper-III 16 J-65-12
68. Match items in List – I with List – II.
List – I List – II
(a) Prayoga (i) Classical
(b) Paramapara (ii) Practice
(c) Shastra (iii) Treatise
(d) Margi (iv) Tradition
Codes :
(a) (b) (c) (d)
(A) (ii) (i) (iii) (iv)
(B) (ii) (iv) (i) (iii)
(C) (ii) (iv) (iii) (i)
(D) (iv) (ii) (iii) (i)
69. The Act of banning the temple dancing
was first passed in ?
(A) 1927
(B) 1947
(C) 1950
(D) 1934
70. Assertion (A) : In order to
comprehend the specificites of a
regional dance form, we have to
depend on several regional dance
texts.
Reason (R) : The texts such as
Natyashastra, Abhinaya darpana,
Natya Manorama, Abhinaya
Navanita may be looked at.
Codes :
(A) (A) is false (R) is true.
(B) (A) is false (R) is false.
(C) (A) is true (R) is true.
(D) (A) is true (R) is false.
71. Identify the correct order
(A) Alidha, Prenkhana, Prerita,
Pratyalidha,
(B) Alidha, Pratyalidha, Prenkhana,
Prerita
(C) Alidha, Pratyalidha, Prerita,
Prenkhana
(D) Pratyalidha, Alidha, Prenkhana,
Prerita
72. Pick the odd one out
(A) Pankaj Charan Das
(B) Raghunath Panigrahi
(C) Sundar Prasad
(D) Kitappa Pillai
73. The most popular music used today in
creative Kathak is
(A) Thumari
(B) Fussion
(C) Flemenco
(D) Sufi
74. Match items in List – I with List – II.
List – I List – II
(a) Chinnaya (i) Pandannalur
(b) Dandayu-
dhapani Pillai
(ii) Margam
(c) Bindadin
Maharaj
(iii) Odissi
(d) Kelucharan
Mahapatra
(iv) Kathak
Codes :
(a) (b) (c) (d)
(A) (i) (ii) (iv) (iii)
(B) (ii) (i) (iv) (iii)
(C) (i) (iii) (iv) (ii)
(D) (iii) (i) (iv) (ii)
75. The terms Thani, Sthanak, Mandi,
Parija etc. refer to
(A) Nartana
(B) Nrutya
(C) Abhinaya
(D) Nritta
J-65-12 17 Paper-III
68. ÃÖæ“Öß-I ÛúÖê ÃÖæ“Öß-II Ûêú ÃÖÖ£Ö ÃÖã´Öê×»ÖŸÖ Ûú¸ëü : ÃÖæ“Öß – I ÃÖæ“Öß – II
(a) ¯ÖϵÖÖêÝÖ (i) ¿ÖÖáÖßµÖ (Œ»ÖÖ×ÃÖÛú»Ö)
(b) ¯Ö¸ü´¯Ö¸üÖ (ii) ¯ÖÏî׌™üÃÖ (c) ¿ÖÖÃ¡Ö (iii) ™Òüß™üÖ‡•ÖÌ (d) ´ÖÖÝÖá (iv) ™Òêü›üß¿Ö®Ö
Ûæú™ü : (a) (b) (c) (d)
(A) (ii) (i) (iii) (iv)
(B) (ii) (iv) (i) (iii)
(C) (ii) (iv) (iii) (i)
(D) (iv) (ii) (iii) (i)
69. ´Ö×®¤ü¸üÖë ´Öë ®ÖéŸµÖ ×®ÖÂÖê¬Ö †×¬Ö×®ÖµÖ´Ö ÃÖ¾ÖÔ¯ÖÏ£Ö´Ö Ûú²Ö ¯ÖÏÖ׸üŸÖ Æãü†Ö ?
(A) 1927 (B) 1947
(C) 1950 (D) 1934
70. Ûú£Ö®Ö (A) : ®ÖéŸµÖ Ûêú õÖê¡ÖßµÖ ºþ¯Ö Ûúß ×¾Ö׿Ö™üŸÖÖ†Öë ÛúÖê ÃÖ´Ö—Ö®Öê Ûêú ×»Ö‹ Æü´Öë Ûãú”û õÖê¡ÖßµÖ ®ÖéŸµÖ ¯ÖÖšËüµÖ ¯ÖãßÖÛúÖë ¯Ö¸ü ×®Ö³ÖÔ ü Ûú¸ü®ÖÖ ¯Ö›ÌüŸÖÖ Æîü …
ÛúÖ¸üÞÖ (R) : ®ÖÖ™ËüµÖ¿ÖÖáÖ, †×³Ö®ÖµÖ ¤ü¯ÖÔÞÖ, ®ÖÖ™ËüµÖ ´Ö®ÖÖê ü´ÖÖ, †×³Ö®ÖµÖ ®Ö¾Ö®ÖßŸÖ •ÖîÃÖß ¯ÖÖšËüµÖ ¯ÖãßÖÛúÖë ÛúÖê ¤êüÜÖ®ÖÖ ÆüÖêÝÖÖ
Ûæú™ü : (A) (A) †ÃÖŸµÖ Æîü, (R) ÃÖŸµÖ Æîü …
(B) (A) †ÃÖŸµÖ Æîü, (R) †ÃÖŸµÖ Æîü …
(C) (A) ÃÖŸµÖ Æîü (R) ÃÖŸµÖ Æîü …
(D) (A) ÃÖŸµÖ Æîü (R) †ÃÖŸµÖ Æîü …
71. ÃÖÆüß ÛÎú´Ö ²ÖŸÖÖ‹Ñ : (A) †Ö»ÖßœüÖ, ¯ÖÏëÜÖÞÖÖ, ¯ÖÏê׸üŸÖÖ, ¯ÖÏŸµÖÖ×»ÖœüÖ (B) †Ö»ÖßœüÖ, ¯ÖÏŸµÖÖ×»ÖœüÖ, ¯ÖÏëÜÖÞÖÖ, ¯ÖÏê× üŸÖÖ (C) †Ö»ÖßœüÖ, ¯ÖÏŸµÖÖ×»ÖœüÖ, ¯ÖÏê׸üŸÖÖ, ¯ÖÏëÜÖÞÖÖ (D) ¯ÖÏŸµÖÖ×»ÖœüÖ, †Ö»ÖßœüÖ, ¯ÖÏëÜÖÞÖÖ, ¯ÖÏê× üŸÖÖ
72. ×¾ÖÂÖ´Ö ÛúÖê “Öã×®Ö‹ :
(A) ¯ÖÓÛú•Ö “Ö¸üÞÖ ¤üÖÃÖ
(B) ¸ü‘Öã®ÖÖ£Ö ¯ÖÖ×ÞÖÝÖÏÆüß
(C) ÃÖ㮤ü¸ü ¯ÖÏÃÖÖ¤ü
(D) ×ÛúŸÖ¯¯ÖÖ ×¯Ö»»Ö‡Ô
73. ´ÖÖî×»ÖÛú ÛúŸ£ÖÛú ´Öë †²Ö ‡ÃŸÖê´ÖÖ»Ö ×ÛúµÖÖ •ÖÖ®Öê ¾ÖÖ»ÖÖ ÃÖ¾ÖÖÔ׬ÖÛú »ÖÖêÛúׯÖ쵅 ÃÖÓÝÖßŸÖ Æîü
(A) šãü´Ö¸üß
(B) °µÖæ•ÖÌ®Ö
(C) °»Öî´Öê®ÖÛúÖê
(D) ÃÖæ±úß
74. ÃÖæ“Öß-I ÛúÖê ÃÖæ“Öß-II Ûêú ÃÖÖ£Ö ÃÖã´Öê×»ÖŸÖ Ûú¸ëü :
ÃÖæ“Öß – I ÃÖæ“Öß – II
(a) ד֮®ÖµÖ (i) ¯Ö®¤üÖ®Ö»»ÖÖî ü
(b) ¤Óü›ü µÖã¨ü¯ÖÖ×ÞÖ ×¯Ö»»Ö‡Ô
(ii) ´ÖÖÝÖÔ´Ö
(c) ײ֮¤üÖ¤üß®Ö ´ÖÆüÖ¸üÖ•Ö
(iii) †Öê×›üÃÖß
(d) Ûêú»Öã“Ö¸üÞÖ ´ÖÆüÖ¯ÖÖ¡Ö
(iv) ÛúŸ£ÖÛú
Ûæú™ü :
(a) (b) (c) (d)
(A) (i) (ii) (iv) (iii)
(B) (ii) (i) (iv) (iii)
(C) (i) (iii) (iv) (ii)
(D) (iii) (i) (iv) (ii)
75. £ÖÖ®Öß, ãÖÖ®ÖÛú, ´ÖÖÓ›üß, ¯ÖÖ׸ü•ÖÖ †Öפü ¿Ö²¤üÖë ÃÖê ŸÖÖŸ¯ÖµÖÔ Æîü
(A) ®ÖŸÖÔ®Ö
(B) ®Ö韵Ö
(C) †×³Ö®ÖµÖ
(D) ®Öé¢Ö
Paper-III 18 J-65-12
51. Match the items in List – I with items
in List – II.
List – I List – II
(a) Bertolt Brecht (i) Kathakali
(b) Antonin Artaud (ii) Ramlila
(c) Richard
Schechner
(iii) Chinese
Opera
(d) Eugenio Barba (iv) Bali Dance
Codes :
(a) (b) (c) (d)
(A) (iii) (iv) (ii) (i)
(B) (iv) (iii) (i) (ii)
(C) (ii) (i) (iii) (iv)
(D) (i) (ii) (iv) (iii)
52. Assertion (A) : The actors of
commedia dell’arte could easily
improvise the plays.
Reason (R) : They were required to
enact stock characters entangled
in traditional situations.
Codes :
(A) Both (A) and (R) are false.
(B) (A) is true but (R) is false.
(C) Both (A) and (R) are true.
(D) (A) is false but (R) is true.
53. Which is the correct sequence ?
(A) As you like it, The Imaginary
Invalid, Lysistrata, Pygmalion
(B) Lysistrata, As you like it, The
Imaginary Invalid, Pygmalion
(C) Pygmalion, The Imaginary
Invalid, As you like it, Lysistrata
(D) The Imaginary Invalid,
Lysistrata, Pygmalion, As you
like it.
54. Which one of the following pairs is not
correctly matched ?
(A) Epic Theatre – Erwin Piscator
(B) Environmental – Augusto
Theatre Boal
(C) Poor Theatre – Jerzy
Grotowski
(D) Street Theatre – Safdar
Hashmi
55. The play ‘Professor Taranne’ is written by the following French playwright
(A) Jean Anouilh
(B) Arthur Adamov
(C) Albert Camus
(D) Jean- Paul Sartre
56. Match the items in List – I with items in List – II.
List – I List – II
(a) Yuan Dynasty (i) Japan
(b) Bugaku (ii) India
(c) Revolving stage (iii) China
(d) Ranga Shirśa (iv) Kabuki
Codes :
(a) (b) (c) (d)
(A) (iv) (ii) (iii) (i)
(B) (ii) (iii) (i) (iv)
(C) (iii) (i) (iv) (ii)
(D) (i) (iv) (ii) (iii)
57. Assertion (A) : There is an alternative tradition of Modern Indian Theatre inspired by western concepts and practices.
Reason (R) : We have two dominant directorial styles : The Theatre of E. Alkazi which is predominantly western and modernist and that of B. V. Karanth a kind of Neo-Folk Theatre.
Codes :
(A) (A) is false, (R) is true.
(B) (R) is false, (A) is true.
(C) Both (A) and (R) are true.
(D) Both (A) and (R) are false.
PART – III
DRAMA/THEATRE
J-65-12 19 Paper-III
51. ÃÖæ“Öß-I ÛúÖê ÃÖæ“Öß-II Ûêú ÃÖÖ£Ö ÃÖã´Öê×»ÖŸÖ Ûúßו֋ :
ÃÖæ“Öß – I ÃÖæ“Öß – II
(a) ²Ö™ÒüÖò»™ü ²ÖÎêÜŸÖ (i) ÛúŸ£ÖÛú×»Ö
(b) ‹®™üÖò×®Ö®Ö †Ö™üÖì›ü
(ii) ¸üÖ´Ö»Öß»ÖÖ
(c) ׸ü“Ö›Ôü ÃÛúָ߮ü (iii) “ÖÖ‡®Öß•ÖÌ †Öò¯Öê¸üÖ
(d) µÖãÝÖß®ÖÖê ²ÖÖ²ÖÖÔ (iv) ²ÖÖ»Öß ®Ö韵Ö
Ûæú™ü :
(a) (b) (c) (d)
(A) (iii) (iv) (ii) (i)
(B) (iv) (iii) (i) (ii)
(C) (ii) (i) (iii) (iv)
(D) (i) (ii) (iv) (iii)
52. Ûú£Ö®Ö (A) : ÛúÖò´ÖêפüµÖÖ ×›ü»ÖÖ¸ü™êü Ûêú †×³Ö®ÖêŸÖÖ †ÖÃÖÖ®Öß ÃÖê †Ö¿Öã®ÖÖ™ËüµÖ Ûú¸ü ¯ÖÖŸÖê £Öë …
ÛúÖ¸üÞÖ (R) : ˆ®ÖÃÖê ¯ÖÖ¸ü´¯Ö׸üÛú ¯Ö׸ü×ãÖ×ŸÖ ´Öë ˆ»Ö—Öê Æãü‹ ºþœü ¯ÖÖ¡ÖÖë ÛúÖ †×³ÖµÖ®Ö Ûú¸ü®ÖÖ †¯Öê×õÖŸÖ £ÖÖ …
Ûæú™ü :
(A) (A) †Öî¸ü (R) ¤üÖê®ÖÖë †ÃÖŸµÖ Æïü …
(B) (A) ÃÖŸµÖ Æîü (R) †ÃÖŸµÖ Æîü …
(C) (A) †Öî¸ü (R) ¤üÖê®ÖÖë ÃÖŸµÖ Æïü …
(D) (A) †ÃÖŸµÖ Æîü, (R) ÃÖŸµÖ Æîü …
53. ÃÖÆüß †®ÖãÛÎú´Ö ÛúÖî®Ö ÃÖÖ Æîü ?
(A) ‹ê•ÖÌ µÖæ »ÖÖ‡Ûú ‡™ü, ¤ü ‡´Öî•Ö®Ö¸üß ‡®Ö¾Öî×»Ö›ü, ×»Ö×ÃÖÃÖ™ÒüÖ™üÖ, ׯÖÝ´Öê×»ÖµÖ®Ö
(B) ×»Ö×ÃÖÃÖ ™ÒüÖ™üÖ, ‹ê•ÖÌ µÖæ »ÖÖ‡Ûú ‡™ü, ¤ü ‡´Öî•Ö®Ö¸üß ‡®Ö¾Öî×»Ö›ü, ׯÖÝ´Öê×»ÖµÖ®Ö
(C) ׯÖÝ´Öê×»ÖµÖ®Ö, ¤ü ‡´Öî•Ö®Ö¸üß ‡®Ö¾Öî×»Ö›ü, ‹ê•ÖÌ µÖæ »ÖÖ‡Ûú ‡™ü, ×»Ö×ÃÖÃÖ™ÒüÖ™üÖ
(D) ¤ü ‡´Öî•Ö®Ö¸üß ‡®Ö¾Öî×»Ö›ü, ×»Ö×ÃÖÃÖ™ÒüÖ™üÖ, ׯÖÝ´Öê×»ÖµÖ®Ö, ‹ê•ÖÌ µÖæ »ÖÖ‡Ûú ‡™ü
54. ×®Ö´®Ö×»Ö×ÜÖŸÖ ´Öë ÃÖê ÛúÖî®Ö ÃÖê µÖãÝ´Ö ÃÖÆüß ®ÖÆüà ×´Ö»ÖŸÖê Æïü ?
(A) ‹×¯ÖÛú ×£ÖµÖê™ü¸ü – ‡¸ü×¾Ö®Ö ×¯ÖÃÛêú™ü¸ü (B) ‹®Ö¾ÖÖµÖ¸ü´Öê®™ü»Ö – †òÝÖßÖÖê ²ÖÖê»Ö ×£ÖµÖê™ü¸ü (C) ¯Ö憸ü ×£ÖµÖê™ü¸ü – •Öê¸ü•ÖÌß ÝÖÏÖê™üÖê¾ÖÃÛúß (D) ÙÒüß™ü ×£ÖµÖê™ü¸ü – ÃÖ±ú¤ü¸ü ÆüÖ¿Ö´Öß
55. ‘¯ÖÏÖê±êúÃÖ¸ü ŸÖ¸üÖ®®Öê’ ®ÖÖ´ÖÛú ®ÖÖ™üÛú ×®Ö´®Ö×»Ö×ÜÖŸÖ ±Ïëú“Ö ®ÖÖ™üÛúÛúÖ¸ü «üÖ¸üÖ ×»ÖÜÖÖ ÝÖµÖÖ
(A) •µÖÖÓ †®Öã‡»Ö (B) †Ö£ÖÔ¸ü †Ö¤üÖ´ÖÖê¾Ö (C) †Ö»²Ö™Ôü ÛúÖ´Öæ (D) •µÖÖÓ ¯ÖÖò»Ö ÃÖÖ¡Öê
56. ÃÖæ“Öß-I ÛúÖê ÃÖæ“Öß-II Ûêú ÃÖÖ£Ö ÃÖã´Öê×»ÖŸÖ Ûúßו֋ : ÃÖæ“Öß – I ÃÖæ“Öß – II
(a) µÖãµÖÖ®Ö ›üÖ‡®ÖêÙüß (i) •ÖÖ¯ÖÖ®Ö (b) ²ÖãÝÖÖÛæú (ii) ³ÖÖ¸üŸÖ (c) ׸ü¾ÖÖò»ÖؾÖÝÖ Ã™êü•Ö (iii) “Öß®Ö (d) ¸ÓüÝÖ ¿ÖßÂÖÔ (iv) ÛúÖ²ÖãÛúß
Ûæú™ü : (a) (b) (c) (d)
(A) (iv) (ii) (iii) (i)
(B) (ii) (iii) (i) (iv)
(C) (iii) (i) (iv) (ii)
(D) (i) (iv) (ii) (iii)
57. Ûú£Ö®Ö (A) : ¯Ö׿“Ö´Öß ÃÖÓÛú»¯Ö®ÖÖ †Öî¸ü ¯Ö¨ü×ŸÖ ÃÖê ¯ÖÏê׸üŸÖ †Ö¬Öã×®ÖÛú ³ÖÖ¸üŸÖßµÖ ¸ÓüÝÖ´ÖÓ“Ö Ûúß ‹Ûú †Öî¸ü ¾ÖîÛú×»¯ÖÛú ¯Ö¸ü´¯Ö¸üÖ Æîü …
ÛúÖ¸üÞÖ (R) : Æü ÖÖ üß ¤üÖê ¯ÖÏ ÖãÜÖ ×®Ö¤ìü¿Ö®Ö ¿Öî×»ÖµÖÖÓ Æïü : ‡Ô.†»ÖÛúÖ•ÖÌß ÛúÖ ¸ÓüÝÖ´ÖÓ“Ö •ÖÖê ´Öãܵ֟Ö: ¯Ö׿“Ö´Öß †Öî ü †Ö¬Öã×®ÖÛúŸÖÖ¾ÖÖ¤üß Æîü •Ö²Ö×Ûú ²Öß.¾Öß. ÛúÖ¸ü®£Ö ÛúÖ ‹Ûú ¯ÖÏÛúÖ¸ü ÃÖê ®Ö¾Ö »ÖÖêÛú ¸ÓüÝÖ´ÖÓ“Ö Æîü …
Ûæú™ü : (A) (A) †ÃÖŸµÖ Æîü (R) ÃÖŸµÖ Æîü …
(B) (R) †ÃÖŸµÖ Æîü (A) ÃÖŸµÖ Æîü …
(C) (A) †Öî¸ü (R) ¤üÖê®ÖÖë ÃÖŸµÖ Æïü …
(D) (A) †Öî¸ü (R) ¤üÖê®ÖÖë †ÃÖŸµÖ Æïü …
³ÖÖÝÖ – III
®ÖÖ™üÛú / ÓüÝÖ´ÖÓ“Ö
Paper-III 20 J-65-12
58. Which is the correct sequence ?
(A) E. Alkazi, Ratan Thiyam, B.
M. Shah, B. V. Karanth
(B) B. V. Karanth, B. M. Shah,
E. Alkazi, Ratan Thiyam
(C) B. M. Shah, B. V. Karanth,
Ratan Thiyam, E. Alkazi
(D) E. Alkazi, B. V. Karanth, B.
M. Shah, Ratan Thiyam
59. Pick the odd pair out.
(A) Ram Gopal Bajaj – Andha Yug
(B) B. V. Karanth – Barnam Van
(C) M. K. Raina – Pancholi
Shapatham
(D) Amal Allana – Maha Bhoj
60. Habib Tanvir’s ‘Jin Lahore Nahi
Dekhya Vo Janmai Nahin’ was written
by the famous urdu play wright
(A) Agha ashra Kashmiri
(B) Asghar Vazahat
(C) Narayan Prasad Betab
(D) Vinayak Prasad Talib
61. Match the item in List – I with items in
List – II.
List – I List – II
(a) Gosthi (i) Nātyokti
(b) Apvāritaka (ii) Arthopaks.epaka
(c) A kamukha (iii) Pūrvara ga
(d) Nāndi (iv) Upa-Rupaka
Codes :
(a) (b) (c) (d)
(A) (i) (iii) (iv) (ii)
(B) (ii) (iv) (iii) (i)
(C) (iii) (ii) (i) (iv)
(D) (iv) (i) (ii) (iii)
62. Assertion (A) : The plot of drama is designated as itiv tta by
Bharatamuni. Reason (R) : The plot of drama has to
be conceived, designed and presented as to seem that it has really happened.
Codes : (A) Both (A) and (R) are false. (B) Both (A) and (R) are true. (C) (A) is true, (R) is false. (D) (R) is true, (A) is false.
63. Which is the correct sequence ? (A) Garbha, Vimarśa, Nirvahan. a,
Pratimukha, Mukha (B) Pratimukha, Vimarśa, Mukha,
Grabha, Nirvahan. a (C) Nirvahana, Garbha, Mukha,
Vimarśa, Pratimukha (D) Mukha, Pratimukha, Garbha,
Vimarśa, Nirvahan. a
64. The device of ‘Garbhā ka’ – an act within an act – is creatively employed in the following Sanskrit play
(A) Abhij.nān Shakuntal (B) Mrichchha Katika (C) Uttar Ramcharita (D) Mudra Rakshas
65. Which one of the following is not correctly matched ?
(A) Ven. isanhār – Bhat Narāyana (B) Ratnavali – Sri Harsha (C) Dariadra Charudutt – Sudraka (D) Malti Madhav – Bhavbhuti
66. Match the items in List – I with the items in List – II.
List – I List – II (a) Standing
units (i) Fencing, well
(b) Hanging units
(ii) Wings, Flats, Doors and Windows
(c) Built-in units
(iii) Curtains and Borders
(d) Ground row units
(iv) Platforms, Steps, Ramps
Codes : (a) (b) (c) (d) (A) (iii) (ii) (i) (iv) (B) (iv) (i) (ii) (iii) (C) (ii) (iii) (iv) (i) (D) (i) (iv) (iii) (ii)
J-65-12 21 Paper-III
58. ÃÖÆüß ÛÎú´Ö ²ÖŸÖÖ‹Ñ :
(A) ‡Ô †»ÖÛúÖ•ÖÌß, ¸üŸÖ®Ö £ÖßµÖ´Ö, ²Öß.‹´Ö.¿ÖÖÆü, ²Öß.¾Öß ÛúÖ¸ü®£Ö
(B) ²Öß.¾Öß ÛúÖ¸ü®£Ö, ²Öß.‹´Ö.¿ÖÖÆü, ‡Ô †»ÖÛúÖ•ÖÌß, ¸üŸÖ®Ö £ÖßµÖ´Ö
(C) ²Öß.‹´Ö.¿ÖÖÆü, ²Öß.¾Öß ÛúÖ¸ü®£Ö, ¸üŸÖ®Ö £ÖßµÖ´Ö, ‡Ô †»ÖÛúÖ•ÖÌß
(D) ‡Ô †»ÖÛúÖ•ÖÌß, ²Öß.¾Öß ÛúÖ¸ü®£Ö, ²Öß.‹´Ö.¿ÖÖÆü, ¸üŸÖ®Ö £ÖßµÖ´Ö
59. ×¾ÖÂÖ´Ö ÛúÖê “Öã×®Ö‹ :
(A) ¸üÖ´Ö ÝÖÖê¯ÖÖ»Ö ²Ö•ÖÖ•Ö – †®¬ÖÖ µÖãÝÖ
(B) ²Öß.¾Öß. ÛúÖ¸ü®£Ö – ²Ö®ÍÖÔü´Ö ¾Ö®Ö
(C) ‹´Ö.Ûêú ¸îü®ÖÖ – ¯ÖÖÓ“ÖÖê»Öß ¿Ö¯Ö£Ö´Ö
(D) †´Ö»Ö †»ÖÖ®ÖÖ – ´ÖÆüÖ³ÖÖê•ÖÌ
60. Æü²Öß²Ö ŸÖ®Ö¾Ö߸ü ÛúÖ “×•Ö®Ö »ÖÖÆüÖî ü ®ÖÆüà ¤êüܵÖÖ ¾ÖÖê •Ö®´ÖµÖÖ ®ÖÆüà” ˆ¤æÔü Ûêú ¯ÖÏ×ÃÖ¨ü ®ÖÖ™üÛúÛúÖ¸ü «üÖ¸üÖ ×»ÖÜÖÖ ÝÖµÖÖ
(A) †ÖÝÖÖ ‹ÁÖ Ûú¿Ö´Ö߸üß
(B) †ÃÖÝÖ¸ü ¾Ö•ÖÌÖÆüŸÖ
(C) ®ÖÖ¸üÖµÖ®Ö ¯ÖÏÃÖÖ¤ü ²ÖêŸÖÖ²Ö
(D) ×¾Ö®ÖÖµÖÛú ¯ÖÏÃÖÖ¤ü ŸÖÖ×»Ö²Ö
61. ÃÖæ“Öß-I ÛúÖê ÃÖæ“Öß-II Ûêú ÃÖÖ£Ö ÃÖã´Öê×»ÖŸÖ Ûúßו֋ :
ÃÖæ“Öß – I ÃÖæ“Öß – II
(a) ÝÖÖêךü (i) ®ÖÖ™ËüµÖÖê׌ŸÖ
(b) †¯Ö¾ÖÖ׸üŸÖÛú (ii) †£ÖÖì¯ÖõÖê¯ÖÛú
(c) †ÓÛú ´ÖãÜÖ (iii) ¯Öæ¾ÖÔ ÓüÝÖ
(d) ®ÖÖ®¤üß (iv) ˆ¯Ö ºþ¯ÖÛú
Ûæú™ü :
(a) (b) (c) (d)
(A) (i) (iii) (iv) (ii)
(B) (ii) (iv) (iii) (i)
(C) (iii) (ii) (i) (iv)
(D) (iv) (i) (ii) (iii)
62. Ûú£Ö®Ö (A) : ®ÖÖ™üÛú Ûúß Ûú£ÖÖ¾ÖßÖã ÛúÖê ³Ö¸üŸÖ´Öã×®Ö ®Öê ‡×ŸÖ¾Öé¢Ö ®ÖÖ´ÖÖê׫ü™ü ×ÛúµÖÖ Æîü …
ÛúÖ¸üÞÖ (R) : ®ÖÖ™üÛú Ûúß Ûú£ÖÖ¾ÖßÖã ÛúÖê ‡ÃÖ ¯ÖÏÛúÖ¸ü †×³Ö¾µÖŒŸÖ, ¯Ö׸üÛú×»¯ÖŸÖ †Öî¸ü ¯ÖÏßÖãŸÖ ×ÛúµÖÖ •ÖÖ®ÖÖ “ÖÖ×Æü‹ ×Ûú ‹êÃÖÖ ¯ÖÏŸÖßŸÖ ÆüÖê ×Ûú ‹êÃÖÖ ¾ÖÖÃŸÖ¾Ö ´Öë Æãü†Ö Æîü …
Ûæú™ü : (A) (A) †Öî¸ü (R) ¤üÖê®ÖÖë †ÃÖŸµÖ Æïü …
(B) (A) †Öî¸ü (R) ¤üÖê®ÖÖë ÃÖŸµÖ Æïü …
(C) (A) ÃÖŸµÖ Æîü ×Ûú®ŸÖã (R) †ÃÖŸµÖ Æîü …
(D) (R) ÃÖŸµÖ Æîü ×Ûú®ŸÖã (A) †ÃÖŸµÖ Æîü …
63. ÃÖÆüß ÛÎú´Ö ²ÖŸÖÖ‹Ñ : (A) ÝÖ³ÖÔ, ×¾Ö´Ö¿ÖÔ, ×®Ö¾ÖÔÆü®Ö, ¯ÖÏןִÖãÜÖ, ´ÖãÜÖ (B) ¯ÖÏןִÖãÜÖ, ×¾Ö´Ö¿ÖÔ, ´ÖãÜÖ, ÝÖ³ÖÔ, ×®Ö¾ÖÔÆü®Ö (C) ×®Ö¾ÖÔÆü®Ö, ÝÖ³ÖÔ, ´ÖãÜÖ, ×¾Ö´Ö¿ÖÔ, ¯ÖÏןִÖãÜÖ (D) ´ÖãÜÖ, ¯ÖÏןִÖãÜÖ, ÝÖ³ÖÔ, ×¾Ö´Ö¿ÖÔ, ×®Ö¾ÖÔÆü®Ö
64. ×®Ö´®Ö×»Ö×ÜÖŸÖ ×ÛúÃÖ ÃÖÓÃÛéúŸÖ ®ÖÖ™üÛú ´Öë ÝÖ³ÖÖÔ׸üÛúÖ ÛúÖ ÃÖ•ÖÔ®ÖÖŸ´ÖÛú ºþ¯Ö ÃÖê ¯ÖϵÖÖêÝÖ ×ÛúµÖÖ ÝÖµÖÖ Æîü ?
(A) †×³Ö–ÖÖ®Ö ¿ÖÖÛãú®ŸÖ»Ö (B) ´Öé“”û Ûú×™üÛú (C) ˆ¢Ö¸ü ¸üÖ´Ö“Ö׸üŸÖ (D) ´Öã¦üÖ ¸üÖõÖÃÖ
65. ×®Ö´®Ö×»Ö×ÜÖŸÖ ´Öë ÃÖê ×ÛúÃÖÛúÖ ÃÖÆüß ´Öê»Ö ®ÖÆüà Æîü ?
(A) ¾ÖêÞÖßÃÖÓÆüÖ¸ü – ³Ö™ü ®ÖÖ¸üÖµÖÞÖ (B) ¸üŸ®ÖÖ¾Ö»Öß – ÁÖß ÆüÂÖÔ (C) ¤ü׸ü¦ü “ÖÖ¹ý¤ü¢Ö – ¿Öã¦üÛú (D) ´ÖÖ»ÖŸÖß ´ÖÖ¬Ö¾Ö – ³Ö¾Ö³ÖæןÖ
66. ÃÖæ“Öß-I ÛúÖê ÃÖæ“Öß-II Ûêú ÃÖÖ£Ö ÃÖã´Öê×»ÖŸÖ Ûúßו֋ : ÃÖæ“Öß – I ÃÖæ“Öß – II
(a) ÙîüØ®›üÝÖ µÖæ×®Ö™ü (i) ±êúØ®ÃÖÝÖ, ¾Öê»Ö (b) ÆîüØÝÖÝÖ µÖæ×®Ö™ü (ii) ؾÖÝÃÖ, °»Öî™ËüÃÖ,
›üÖê¸ËüÃÖ †Öî¸ü ؾ֛üÖê•ÖÌ
(c) ײֻ™ü ‡®Ö µÖæ×®Ö™ËüÃÖ
(iii) Ûú™ìü®Ö †Öî¸ü ²ÖÖ›Ôü¸ü
(d) ÝÖÏÖˆ®›ü ¸üÖò µÖæ×®Ö™ËüÃÖ
(iv) ¯»Öê™ü±úÖ´ÖÔ, Ùüê¯ÃÖ, ¸îü´¯Ö
Ûæú™ü : (a) (b) (c) (d) (A) (iii) (ii) (i) (iv) (B) (iv) (i) (ii) (iii) (C) (ii) (iii) (iv) (i) (D) (i) (iv) (iii) (ii)
Paper-III 22 J-65-12
67. Assertion (A) : The pantomimic dramatization is one of the five fundamentals of play directing which includes the complete visual performance of a play.
Reason (R) : It does not include the use of other fundamentals viz. composition, picturization, movement and rhythm.
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.
68. Which is the correct sequence ? (A) Line, Colour, Form, Texture (B) Colour, Form, Texture, Line (C) Form, Texture, Line, Colour (D) Line, Form, Colour, Texture
69. Which theatre has the orchestra pit ? (A) Greek Theatre (B) Roman Theatre (C) Proscenium Theatre (D) Globe Theatre
70. Which one of the following pairs is not correctly matched ?
(A) Cinemoid – Filtering the light (B) Dimmer – Regulating intensity
of light (C) Lens – Gathers/ Disperses
rays of light (D) Gauze – Strip of lights
71. Match the items in List – I with the items in List – II.
List – I List – II (a) A Street Car
Named Desire (i) Arthur
Miller (b) The Emperor
Jones (ii) Tennessee
Williams (c) The American
Dream (iii) Edward
Albee (d) A View From
the Bridge (iv) Eugene
O’Neill Codes : (a) (b) (c) (d) (A) (iii) (ii) (iv) (i) (B) (ii) (iv) (iii) (i) (C) (i) (iii) (ii) (iv) (D) (iv) (i) (iii) (ii)
72. Assertion (A) : Though Kabuki does
not depict contemporary life, it
enjoys wide popularity in Japan,
a country whose whole has
undergone a great degree of
westernization.
Reason (R) : It is now a crystallised
form and thus has retained a
place in the nation’s pride and
affection.
Codes :
(A) Both (A) and (R) are true.
(B) Both (A) and (R) are false.
(C) (A) is true (R) is false.
(D) (A) is false (R) is true.
73. Which is the correct sequence ?
(A) Aeschylus, Sophocles,
Menandler, Aristophanes,
Euripides
(B) Euripides, Aristophanes,
Sophocles, Menander, Aeschylus
(C) Aeschylus, Sophocles, Euripides,
Aristophanes, Menander
(D) Menander, Aristophanes,
Sophocles, Aeschylus, Euripides
74. ‘Shite’ is a character in
(A) NŌH
(B) KABUKI
(C) BUGAKU
(D) KYOGEN
75. Which of the following is not correctly
matched ?
(A) Marlon – Method Acting
Brando
(B) Henry – Acting
Irving Shakespeare
(C) Adolphe – Acting in
Appia Wagner’s Plays
(D) Dario Fo – Italian Actor
J-65-12 23 Paper-III
67. Ûú£Ö®Ö (A) : ®ÖÖ™üÛú ×®Ö¤ìü¿Ö®Ö Ûêú ¯ÖÖÑ“Ö ´Öæ»Ö ŸÖ¢¾ÖÖë ´Öë ÃÖê ‹Ûú Æîü ´ÖæÛú †×³Ö®ÖµÖ ®ÖÖ™üÛúßÛú¸üÞÖ … ‡ÃÖ´Öë ®ÖÖ™üÛú Ûúß ÃÖ´¯ÖæÞÖÔ ¥ü¿µÖ ¯ÖÏßÖã×ŸÖ ¿ÖÖ×´Ö»Ö Æîü …
ÛúÖ¸üÞÖ (R) : ‡ÃÖ´Öë †®µÖ ´Öæ»Ö ŸÖ¢¾Ö ¿ÖÖ×´Ö»Ö ®ÖÆüà ÆüÖêŸÖê Æïü •ÖîÃÖê Ûúß Ûú´¯ÖÖê•ÖÌß¿Ö®Ö, ׯ֓“Ö¸üÖ‡•ÖÌê¿Ö®Ö, ´Öæ¾Ö´Öê®™ü †Öî¸ü ׸ü¤ü´Ö …
Ûæú™ü : (A) (A) †Öî¸ü (R) ¤üÖê®ÖÖë †ÃÖŸµÖ Æïü …
(B) (A) †Öî¸ü (R) ¤üÖê®ÖÖë ÃÖŸµÖ Æïü …
(C) (A) ÃÖŸµÖ Æîü (R) †ÃÖŸµÖ Æîü …
(D) (A) †ÃÖŸµÖ Æîü (R) ÃÖŸµÖ Æîü …
68. ÃÖÆüß ÛÎú´Ö ²ÖŸÖÖ‹Ñ : (A) »ÖÖ‡®Ö, Ûú»Ö¸ü, ±úÖ´ÖÔ, ™êüŒÃÖ“Ö¸ü (B) Ûú»Ö¸ü, ±úÖ´ÖÔ, ™êüŒÃÖ“Ö¸ü, »ÖÖ‡®Ö (C) ±úÖ´ÖÔ, ™êüŒÃÖ“Ö¸ü, »ÖÖ‡®Ö, Ûú»Ö¸ü (D) »ÖÖ‡®Ö, ±úÖ´ÖÔ, Ûú»Ö¸ü, ™êüŒÃÖ“Ö¸ü
69. ÛúÖî®Ö ÃÖê ×£ÖµÖê™ü¸ü Ûúß †Öî¸ü×ÛúÙÒüÖ ×¯Ö™ü Æîü ?
(A) ÝÖÏßÛú ×£ÖµÖê™ü¸ü (B) ¸üÖê´Ö®Ö ×£ÖµÖê™ü¸ü (C) ¯ÖÏÖêÃÖê×®ÖµÖ´Ö ×£ÖµÖê™ü¸ü (D) Ý»ÖÖê²Ö ×£ÖµÖê™ü¸ü
70. ×®Ö´®Ö×»Ö×ÜÖŸÖ µÖãÝ´ÖÖë ´Öë ÃÖê ÛúÖî®Ö ÃÖê ÛúÖê ÃÖÆüß ®ÖÆüà ×´Ö»ÖÖµÖÖ ÝÖµÖÖ Æîü ?
(A) ×ÃÖ®Öê´ÖÖò‡›ü – ¯ÖÏÛúÖ¿Ö ÛúÖê ”ûÖ®Ö®ÖÖ (B) ×›ü´Ö¸ü – ¯ÖÏÛúÖ¿Ö Ûúß ŸÖß¾ÖΟÖÖ ÛúÖê
×®ÖµÖ×´ÖŸÖ Ûú¸ü®ÖÖ (C) »Öê®ÃÖ – ¯ÖÏÛúÖ¿Ö Ûúß ×Ûú¸üÞÖÖë ÛúÖê
‹Ûú¡Ö / ×¾ÖÃÖ•ÖÔ®Ö Ûú¸ü®ÖÖ (D) ÝÖÖî•ÖÌ – ¯ÖÏÛúÖ¿Ö Ûúß ¯Ö¼üß
71. ÃÖæ“Öß-I ÛúÖê ÃÖæ“Öß-II Ûêú ÃÖÖ£Ö ÃÖã´Öê×»ÖŸÖ Ûúßו֋ : ÃÖæ“Öß – I ÃÖæ“Öß – II
(a) ‹ ÙÒüß™ü ÛúÖ¸ü ®Öê´›ü ×›ü•ÖÖµÖ¸ü
(i) †Ö£ÖÔ¸ü ×´Ö»Ö¸ü
(b) ¤ü ‹´¯Ö¸Ëü¸ü •ÖÌÖê®ÃÖ (ii) ™êü®ÖÃÖß ×¾Ö×»ÖµÖ´ÃÖ (c) ¤ü †´Öê׸üÛú®Ö
›Òüß´Ö (iii) ‹›ü¾Ö›Ôü ‹»Ö²Öß
(d) ‹ ¾µÖæ ±ÏúÖò´Ö ¤ü ײÖΕÖ
(iv) µÖæÝÖß®Ö †Öê’ ®Öß»Ö
Ûæú™ü : (a) (b) (c) (d) (A) (iii) (ii) (iv) (i) (B) (ii) (iv) (iii) (i) (C) (i) (iii) (ii) (iv) (D) (iv) (i) (iii) (ii)
72. Ûú£Ö®Ö (A) : µÖª×¯Ö ÛúÖ²ÖãÛúß ÃÖ´ÖÛúÖ»Öß®Ö •Öß¾Ö®Ö ÛúÖê דÖ×¡ÖŸÖ ®ÖÆüà Ûú¸üŸÖÖ Æîü ŸÖ£ÖÖ×¯Ö µÖÆü •ÖÖ¯ÖÖ®Ö ´Öë ¾µÖÖ¯ÖÛú ºþ¯Ö ÃÖê »ÖÖêÛúׯÖ쵅 Æîü, ‹Ûú ‹êÃÖÖ ¤êü¿Ö •ÖÖê ¯Öæ¸üÖ ÛúÖ ¯Öæ¸üÖ ¯Ö׿“Ö´ÖßÛú¸üÞÖ ÃÖê †×¬ÖÛú ¯ÖϳÖÖ×¾ÖŸÖ ¸üÆüÖ Æîü …
ÛúÖ¸üÞÖ (R) : µÖÆü †²Ö ‹Ûú ×®Ö׿“ÖŸÖ ºþ¯Ö Æîü וÖÃÖ®Öê ¸üÖ™Òü Ûêú ÝÖÖî¸ü¾Ö †Öî¸ü ¯ÖÏê´Ö ¯ÖÏÖ¯ŸÖ Ûú¸ü®Öê ´Öë †¯Ö®ÖÖ Ã£ÖÖ®Ö ²Ö®ÖÖµÖÖ Æîü …
Ûæú™ü :
(A) (A) †Öî¸ü (R) ¤üÖê®ÖÖë ÃÖŸµÖ Æïü …
(B) (A) †Öî¸ü (R) ¤üÖê®ÖÖë †ÃÖŸµÖ Æïü …
(C) (A) ÃÖŸµÖ Æîü (R) †ÃÖŸµÖ Æîü …
(D) (A) †ÃÖŸµÖ Æîü (R) ÃÖŸµÖ Æîü …
73. ÃÖÆüß †®ÖãÛÎú´Ö ÛúÖî®Ö ÃÖÖ Æîü ?
(A) ‹ÃÛúÖ‡»ÖÃÖ, ÃÖÖê±úÖê׌»ÖÃÖ, ´Öê®Ö®›ü ü, ‹×¸üÙüÖê±îú®ÖËÃÖ, µÖæ¸ü߯Öß×›üÃÖ
(B) µÖæ¸ü߯Öß×›üÃÖ, ‹×¸üÙüÖê±îú®ÖËÃÖ, ÃÖÖê±úÖê׌»ÖÃÖ, ´Öê®Ö®›ü¸ü, ‹ÃÛúÖ‡»ÖÃÖ
(C) ‹ÃÛúÖ‡»ÖÃÖ, ÃÖÖê±úÖê׌»ÖÃÖ, µÖæ¸ü߯Öß×›üÃÖ, ‹×¸üÙüÖê±îú®ÖËÃÖ, ´Öê®Ö®›ü¸ü
(D) ´Öê®Ö®›ü¸ü, ‹×¸üÙüÖê±îú®ÃÖ, ÃÖÖê±úÖê׌»ÖÃÖ, ‹ÃÛúÖ‡»ÖÃÖ, µÖæ¸üÖê¯Öß×›üÃÖ
74. ‘¿ÖߟÖê’ ×ÛúÃÖ ´Öë ‹Ûú “Ö׸ü¡Ö Æîü ?
(A) ®ÖÖêÆü (NOH)
(B) ÛúÖ²ÖãÛúß
(C) ²ÖãÝÖÖÛæú
(D) ŒµÖÖê•Öê®Ö
75. ×®Ö´®Ö×»Ö×ÜÖŸÖ ´Öë ÃÖê ÛúÖî®Ö ÃÖÖ ÃÖÆüß ®ÖÆüà ×´Ö»ÖÖµÖÖ ÝÖµÖÖ Æîü ?
(A) ´Ö»ÖÔ®Ö ²ÖÎî®›üÖê – ´Öê£Ö›ü ‹ØŒ™üÝÖ
(B) Æîü®Ö¸üß ‡ÔÚ¾ÖÝÖ – ‹ØŒ™üÝÖ ¿ÖêŒÃÖׯֵָü
(C) ‹›üÖò»±ú ‹×¯Ö†Ö – ‹ØŒ™üÝÖ ‡®Ö ¾ÖêÝ®Ö ËüÃÖ ¯»Öê
(D) ›üÖ׸üµÖÖê ±úÖê – ‡™êü×»ÖµÖ®Ö ‹Œ™ü¸ü
Paper-III 24 J-65-12
Space For Rough Work