PAPER-II DRAMA/THEATRE. Roll No.
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1 Signature and Name of Invigilator 1. (Signature) (Name) 2. (Signature) (Name) 0 9 J A PAPER-II DRAMA/THEATRE OMR Sheet No. :... (To be filled by the Candidate) Roll No. (In figures as per admission card) Roll No. (In words) Time : 1 1 / 4 hours] [Maximum Marks : 100 Number of Pages in this Booklet : 32 Number of Questions in this Booklet : 50 Instructions for the Candidates 1. Write your roll number in the space provided on the top of this page. 2. This paper consists of fifty multiple-choice type of questions. 3. At the commencement of examination, the question booklet will be given to you. In the first 5 minutes, you are requested to open the booklet and compulsorily examine it as below : (i) To have access to the Question Booklet, tear off the paper seal on the edge of this cover page. Do not accept a booklet without sticker-seal and do not accept an open booklet. (ii) Tally the number of pages and number of questions in the booklet with the information printed on the cover page. Faulty booklets due to pages/questions missing or duplicate or not in serial order or any other discrepancy should be got replaced immediately by a correct booklet from the invigilator within the period of 5 minutes. Afterwards, neither the Question Booklet will be replaced nor any extra time will be given. (iii) After this verification is over, the Test Booklet Number should be entered on the OMR Sheet and the OMR Sheet Number should be entered on this Test Booklet. (iv) The test booklet no. and OMR sheet no. should be same. In case of discrepancy in the number, the candidate should immediately report the matter to the invigilator for replacement of the Test Booklet / OMR Sheet. 4. Each item has four alternative responses marked (1), (2), (3) and (4). You have to darken the circle as indicated below on the correct response against each item. Example : where (3) is the correct response. 5. Your responses to the items are to be indicated in the OMR Sheet given inside the Booklet only. If you mark your response at any place other than in the circle in the OMR Sheet, it will not be evaluated. 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 the space allotted for the relevant entries, which may disclose your identity, or use abusive language or employ any other unfair means, such as change of response by scratching or using white fluid, you will render yourself liable to disqualification. 9. You have to return the Original OMR Sheet to the invigilators at the end of the examination compulsorily and must not carry it with you outside the Examination Hall. You are, however, allowed to carry original question booklet on conclusion of examination. 10. Use only Black Ball point pen. 11. Use of any calculator or log table etc., is prohibited. 12. There is no negative marks for incorrect answers. 13. In case of any discrepancy in the English and Hindi versions, English version will be taken as final. Ö üßõööù ÖµÖÖë Ûêú»Ö Ö ìü Ö 1. ÃÖ 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 ÖÖÃÖ ²ÖÆãü ¾ÖÛú» ÖßµÖ ÖÏ Ö Æïü 3. 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Öî ü OMR Ö ÖÛú ÖÓ. ÃÖ ÖÖ Ö ÆüÖê Öê ÖÖ Æü µö ü ÖÓ²Ö ü ³Ö Ö ÆüÖë, ŸÖÖê Ö üßõöö Öá ÖÏ Ö- Öã ßÖÛúÖ / OMR Ö ÖÛú ²Ö ü»ö Öê Ûêú»Ö Ö üßõöûú ÛúÖê ŸÖã ÓüŸÖ ÃÖæ ÖŸÖ Ûú ëü 4. ÖÏŸµÖêÛú ÖÏ Ö Ûêú»Ö ÖÖ ü ˆ Ö ü ¾ÖÛú» Ö (1), (2), (3) ŸÖ ÖÖ (4) üµöê ÝÖµÖê 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 üüööµöö ÝÖµÖÖ Æîü : ˆ üöæü üþö : Ö²Ö Ûúú(3) ÃÖÆüß ˆ Ö ü Æîü 5. ÖÏ ÖÖë Ûêú ˆ Ö ü Ûêú¾Ö»Ö ÖÏ Ö Öã ßÖÛúÖ Ûêú ü ü üµöê ÝÖµÖê OMR Ö ÖÛú Ö ü Æüß Ó ÛúŸÖ Ûú ü Öê Æïü µö ü Ö Ö OMR Ö ÖÛú Ö ü üµöê ÝÖµÖê ¾Öé Ö Ûêú»ÖÖ¾ÖÖ ÛúÃÖß µö à ÖÖ Ö Ö ü ˆ Ö ü ÖÅ ÖÖÓ ÛúŸÖ Ûú üÿöê Æïü, ŸÖÖê ˆÃÖÛúÖ Ö滵ÖÖÓÛú Ö ÖÆüà ÆüÖêÝÖÖ 6. ü ü üµöê ÝÖµÖê Ö ìü ÖÖë ÛúÖê µöö Ö Öæ¾ÖÔÛú ÖœÌëü 7. 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ÝÖ»ÖŸÖ ˆ Ö üöë Ûêú»Ö ÛúÖê Ô ÖÛúÖ üöÿ ÖÛú ÓÛú ÖÆüà Æïü 13. µö ü ÓÝÖÏê Öß µöö ØÆü üß ¾Ö¾Ö üþö Öë ÛúÖê Ô ¾ÖÃÖÓÝÖ ŸÖ ÆüÖê, ŸÖÖê ÓÝÖÏê Öß ¾Ö¾Ö üþö Ó ŸÖ Ö ÖÖ ÖÖ ÖÖ ÝÖÖ JA P.T.O.
2 DRAMA/THEATRE Paper II Note : This paper contains fifty (50) objective type questions of two (2) marks each. All questions are compulsory. 1. Match the items in List I with those in List II : List I (A) Sh ariputra Prakara a (B) Mattavil asa (C) N ag ananda (D) Kundam al a List II (i) Dingan aga (ii) Shri Harsha (iii) Ashwaghosha (iv) Mahendravikrama (A) (B) (C) (D) (1) (i) (ii) (iii) (iv) (2) (ii) (iii) (iv) (i) (3) (iii) (iv) (ii) (i) (4) (iv) (i) (iii) (ii) 2. Assertion (A) : Emile Zola thought many realists were more concerned with theatrical effectiveness than with truth to life. Reason (R) : Naturalism, unlike realism, had great success in the theatre, probably because it was too liberal in its demands. (1) (A) is false and (R) is true. (2) Both (A) and (R) are false. (3) (A) is true and (R) is false. (4) Both (A) and (R) are true. Paper-II 2 JA
3 ÒüÖ ÖÖ / Ö ü ü ÖÏ Ö Ö Ö II ÖÖê ü : ÃÖ ÖÏ Ö Ö Ö Öë Ö ÖÖÃÖ (50) ²ÖÆãü- ¾ÖÛú» ÖßµÖ ÖÏ Ö Æïü ÖÏŸµÖêÛú ÖÏ Ö Ûêú üöê (2) ÓÛú Æïü ÃÖ³Öß ÖÏ Ö Ö¾ÖÖµÖÔ Æïü 1. ÃÖæ Öß-I Ûúß Ö üöë ÛúÖê ÃÖæ Öß-II ÃÖê ÃÖã Öê»ÖŸÖ Ûúß Ö : ÃÖæ Öß-I ÃÖæ Öß-II (A) ÖÖ üß Öã Ö ÖÏÛú üþö (i) ü ËûÝÖ ÖÖÝÖ (B) Ö Ö ¾Ö»ÖÖÃÖ (ii) ÁÖß ÆüÂÖÔ (C) ÖÖÝÖÖ Ö ü (iii) À¾Ö ÖÖêÂÖ (D) Ûãú ü ÖÖ»ÖÖ (iv) ÖÆêü ü ¾ÖÛÎú Ö (A) (B) (C) (D) (1) (i) (ii) (iii) (iv) (2) (ii) (iii) (iv) (i) (3) (iii) (iv) (ii) (i) (4) (iv) (i) (iii) (ii) 2. ³ÖÛú Öü Ö (A) : Ö»Ö ÖÖê»ÖÖ ÛúÖ ÖÖ Ö ÖÖ ÖÖ Ûú ÖêÛú µö ÖÖ ÖÔ¾ÖÖ üß ü Ö ÖÖÛúÖ ü Öß¾Ö Ö Ûúß ÃÖ ÖÖ Ô Ûúß ŸÖã»Ö ÖÖ Öë ÖÖ üûúßµö ÖÏ ü ÖÔ Ö Ûúß ÖϳÖÖ¾ÖÖêŸ ÖÖ üûúÿöö Ûêú ÖÏ ŸÖ ÖÛú ÃÖ üöêûúö ü üüöÿöê Æïü ÛúÖ üþö (R) :. (1) (A) ÝÖ»ÖŸÖ Öî ü (R) ÃÖÆüß Æîü (2) (A) Öî ü (R) üöê ÖÖë ÝÖ»ÖŸÖ Æîü (3) (A) ÃÖÆüß Öî ü (R) ÝÖ»ÖŸÖ Æîü (4) (A) Öî ü (R) üöê ÖÖë ÃÖÆüß Æîü µö ÖÖ ÖÔ¾ÖÖ ü Ûêú ¾Ö Ö üßÿö ÖÏÛéú ŸÖ Öê Ö ü ü Öë ÖÖ Ö üö ü ÃÖ±ú»ÖŸÖÖ ÖÖ Ô, ÃÖÓ³Ö¾ÖŸÖ: ÃÖÛúÖ ÛúÖ üþö ˆÃÖÛúÖ Ö Öß ÖêõÖÖ Öë Öë ŸµÖÖ ÖÛú ˆ üö ü ÆüÖê ÖÖ ÖÖ JA Paper-II
4 3. Give the correct sequence of the following theatre departments from youngest to oldest : (1) Pondicherry University, Osmania University, Shivaji University, Aurangabad University. (2) Pondicherry University, Aurangabad University,, Osmania University, Shivaji University. (3) Pondicherry University, Osmania University, Aurangabad University, Shivaji University. (4) Aurangabad University, Osmania University, Shivaji University, Pondicherry University. 4. Pick the odd one out : (1) Kuchipudi (2) Alkap (3) Pagativesham (4) Terukkuttu 5. Which one of the following playwrights won both Nobel Prize in Literature and Academy Award for writing? (1) Luigi Pirandello (2) Samuel Beckett (3) Eugene O Neill (4) George Bernard Shaw 6. Match the items in List I with those in List II : List I List II (a) Luca Ronconi (i) Hernani (b) Victor Hugo (ii) Orlando Furioso (c) Robert Wilson (iii) The Domestic Resurrection Circus (d) Peter Schumann (iv) The life & times of Joseph Stalin (a) (b) (c) (d) (1) (ii) (i) (iii) (iv) (2) (i) (iv) (iii) (ii) (3) (iii) (ii) (i) (iv) (4) (ii) (i) (iv) (iii) Paper-II 4 JA
5 3. Ö Ö»Ö ÜÖŸÖ Ö ü ü ¾Ö³ÖÖÝÖÖë ÛúÖ ÃÖ²ÖÃÖê Ö ÃÖê Öã üö Öê Ûêú ÛÎú Ö ÃÖê ÃÖÆüß ÛÎú Ö ²ÖŸÖÖ Ñ (1) ÖÖÓ ü Öê üß ¾Ö ¾Ö ¾ÖªÖ»ÖµÖ, ˆÃ ÖÖ ÖµÖÖ ¾Ö ¾Ö ¾ÖªÖ»ÖµÖ, Ö¾ÖÖ Öß ¾Ö ¾Ö ¾ÖªÖ»ÖµÖ, Öî ÓüÝÖÖ²ÖÖ ü ¾Ö ¾Ö ¾ÖªÖ»ÖµÖ (2) ÖÖÓ ü Öê üß ¾Ö ¾Ö ¾ÖªÖ»ÖµÖ, Öî ÓüÝÖÖ²ÖÖ ü ¾Ö ¾Ö ¾ÖªÖ»ÖµÖ, ˆÃ ÖÖ ÖµÖÖ ¾Ö ¾Ö ¾ÖªÖ»ÖµÖ, Ö¾ÖÖ Öß ¾Ö ¾Ö ¾ÖªÖ»ÖµÖ (3) ÖÖÓ ü Öê üß ¾Ö ¾Ö ¾ÖªÖ»ÖµÖ, ˆÃ ÖÖ ÖµÖÖ ¾Ö ¾Ö ¾ÖªÖ»ÖµÖ, Öî ÓüÝÖÖ²ÖÖ ü ¾Ö ¾Ö ¾ÖªÖ»ÖµÖ, Ö¾ÖÖ Öß ¾Ö ¾Ö ¾ÖªÖ»ÖµÖ (4) Öî ÓüÝÖÖ²ÖÖ ü ¾Ö ¾Ö ¾ÖªÖ»ÖµÖ, ˆÃ ÖÖ ÖµÖÖ ¾Ö ¾Ö ¾ÖªÖ»ÖµÖ, Ö¾ÖÖ Öß ¾Ö ¾Ö ¾ÖªÖ»ÖµÖ, ÖÖÓ ü Öê üß ¾Ö ¾Ö ¾ÖªÖ»ÖµÖ 4. ¾ÖÂÖ Ö ÛúÖê Öã Ö : (1) Ûãú Ö Öã Ìüß (2)»ÛúÖ Ö (3) ÖÝÖ ŸÖ¾Öê Ö Ö (4) ŸÖêºþŒÛãú Öã 5. Ö Ö»Ö ÜÖŸÖ ÖÖ üûúûúö üöë Öë ÃÖê ÛúÃÖ Öê ÃÖÖ ÆüŸµÖ Öë ÖÖê²Öê»Ö Öã üãûúö ü Öî ü»öêüö Ö Öë ÛúÖ ü Öß Öã üãûúö ü üöê ÖÖë ÖߟÖê Öê? (1)»µÖæÝÖß Ö üö êü»ööê (2) ÃÖî Öã»Ö ²ÖêÛêú ü (3) µöæ Ö Ö Öê Öᯙ (4) ÖÖò ÖÔ ²Ö ÖÖÔ Ôü ÖÖò 6. ÃÖæ Öß-I Ûúß Ö üöë ÛúÖê ÃÖæ Öß-II Ûúß Ö üöë ÃÖê ÃÖã Öê»ÖŸÖ Ûúß Ö : ÃÖæ Öß-I ÃÖæ Öß-II (a)»öãûúö üöê ÖÛúÖê Öß (i) Æü ü ÖÖ Öß (b) ¾ÖŒ ü ü ÊæÝÖÖê (ii) Öò»Öì üöê µöæ ü ÖêÃÖÖê (c) üöò²ö Ôü ¾Ö»ÃÖ Ö (iii) ü üöê Öê à üûú üãö êüœ Ö Ö ÃÖÛÔúÃÖ (d) Öß ü ü Öã Öî Ö (iv) ü»öö ±ú Ó ü üö ÃÖ Öò±ú ÖÖêÃÖê±ú à üö»ö Ö (a) (b) (c) (d) (1) (ii) (i) (iii) (iv) (2) (i) (iv) (iii) (ii) (3) (iii) (ii) (i) (iv) (4) (ii) (i) (iv) (iii) JA Paper-II
6 7. Assertion (A) : Each particular theatre activity has a particular sociological context, within which its experimentation has to be seen. Reason (R) : There can be no absolute criteria for experimentation. (1) Both (A) and (R) are true. (2) Both (A) and (R) are false. (3) (A) is true, but (R) is false. (4) (A) is false, but (R) is true. 8. Indicate the correct sequence in the context of geographical origin from North to South : (1) Lakhon Khol, Zat pwe, Khon, Bangsawan (2) Bangsawan, Khon, Zat pwe, Lakhon Khol (3) Zat pwe, Khon, Lakhon Khol, Bangsawan (4) Bangsawan, Lakhon Khol, Khon, Zat pwe 9. Pick the odd one out : (1) The Grouch (2) The Birds (3) The Clouds (4) The Frogs 10. According to N atyash astra, the text of the play which served as the basis of dialogue was technically called (1) L asya (2) N atya (3) P athya (4) Shr avya Paper-II 6 JA
7 7. ³ÖÛú Öü Ö (A) : ÓüÝÖ ÖÓ Ö Ûúß ÖÏŸµÖêÛú ¾Ö Ö ü ÝÖ ŸÖ ¾Ö Ö ÛúÖ Ûú ¾Ö Ö ü ÃÖ ÖÖ Ö ÖÖà ÖßµÖ ÃÖÓ ü³öô ÆüÖêŸÖÖ Æîü, ÖÃÖÛêú ³ÖßŸÖ ü ˆÃÖÛúß ÖϵÖÖêÝÖ ÖÙ ÖŸÖÖ ÛúÖê êüüöö ÖÖ ÖÖ ÖÖ Æü ÛúÖ üþö (R) :. ÖϵÖÖêÝÖ ÖÙ ÖŸÖÖ ÛúÖ ÛúÖê Ô ÖæÞÖÔ ÖÖ Ö Óü ü ÖÆüà ÆüÖê ÃÖÛúŸÖÖ (1) (A) Öî ü (R) üöê ÖÖë ÃÖÆüß Æîü (2) (A) Öî ü (R) üöê ÖÖë ÝÖ»ÖŸÖ Æîü (3) (A) ÃÖÆüß Æîü, Ö ü ŸÖãü (R) ÝÖ»ÖŸÖ Æîü (4) (A) ÝÖ»ÖŸÖ Æîü, Ö ü ŸÖã (R) ÃÖÆüß Æîü 8. ³ÖÖîÝÖÖê»ÖÛú ˆŸ Ö Ö Ûêú ÃÖÓ ü³öô Öë ˆ Ö ü ÃÖê ü õöþö ŸÖÛú Ûêú ÃÖÆüß ÛÎú Ö ÛúÖê Öã Ö : (1)»ÖÖÜÖÖë ÜÖÖê»Ö, Ö ü ¾Öê, ÜÖÖê Ö, ²ÖÓÝÖÃÖ¾ÖÖ Ö (2) ²ÖÓÝÖÃÖ¾ÖÖ Ö, ÜÖÖê Ö, Ö ü ¾Öê,»ÖÖÜÖÖë ÜÖÖê»Ö (3) Ö ü ¾Öê, ÜÖÖê Ö,»ÖÖÜÖÖë ÜÖÖê»Ö, ²ÖÓÝÖÃÖ¾ÖÖ Ö (4) ²ÖÓÝÖÃÖ¾ÖÖ Ö,»ÖÖÜÖÖë ÜÖÖê»Ö, ÜÖÖê Ö, Ö ü ¾Öê 9. ¾ÖÂÖ Ö ÛúÖê Öã Ö : (1) ü ÝÖÏÖˆ Ö (2) ü ²Ö ÔËüÃÖ (3) ü Œ»ÖÖˆ ËüÃÖ (4) ü ±ÏúÖêÝÃÖ 10. ÖÖ ü ÖÖÃ Ö Ûêú ÖãÃÖÖ ü, ÖÖ üûú ÛúÖ Ö»ÖêÜÖ üöê Ûú ÖÖê ÖÛú Ö Ö Ûêú Ö ÖÖ ü Ûêú ºþ Ö Öë ÛúÖµÖÔ Ûú üÿöö Æîü ˆÃÖê ŸÖÛú ÖßÛúß ºþ Ö ÃÖê ÛúÆüÖ ÖÖŸÖÖ Æîü : (1)»ÖÖÃµÖ (2) ÖÖ ËüµÖ (3) ÖÖšËüµÖ (4) ÁÖ¾µÖ JA Paper-II
8 11. Match the items in List I with those in List II : List I (a) Rang Prabhat (b) Kinnara Mela (c) Khilona (d) Bal Natya List II (i) Maharashtra (ii) Kerala (iii) Karnataka (iv) Delhi (a) (b) (c) (d) (1) (ii) (iii) (iv) (i) (2) (i) (iv) (iii) (ii) (3) (iv) (iii) (ii) (i) (4) (iii) (iv) (ii) (i) 12. Assertion (A) : Today s folk theatre of Bengal is influenced by contemporary popular media. Reason (R) : Spectators of folk theatre are getting entertained by television and cinema, which are easily available in remote villages also. (1) Both (A) and (R) are true. (2) Both (A) and (R) are false. (3) (A) is true, but (R) is false. (4) (A) is false, but (R) is true. 13. Pick up the correct sequence of following plays in chronological order : (1) Oedipus the King, Hedda Gabler, The tragedy of King Lear, The Frogs (2) Oedipus the King, The tragedy of King Lear, Hedda Gabler, The Frogs (3) Oedipus the King, The tragedy of King Lear, The Frogs, Hedda Gabler, (4) Oedipus the King, The Frogs, The tragedy of King Lear, Hedda Gabler. Paper-II 8 JA
9 11. ÃÖæ Öß-I Ûúß Ö üöë ÛúÖê ÃÖæ Öß-II Ûúß Ö üöë ÃÖê ÃÖã Öê»ÖŸÖ Ûúß Ö : ÃÖæ Öß-I ÃÖæ Öß-II (a) ÓüÝÖ ÖϳÖÖŸÖ (i) ÖÆüÖ üöâ Òü (b) Ûú Ö üö Öê»ÖÖ (ii) Ûêú ü»ö (c) ÜÖ»ÖÖî ÖÖ (iii) Ûú ÖÖÔ üûú (d) ²ÖÖ»Ö ÖÖ ü (iv) ü»»öß (a) (b) (c) (d) (1) (ii) (iii) (iv) (i) (2) (i) (iv) (iii) (ii) (3) (iv) (iii) (ii) (i) (4) (iii) (iv) (ii) (i) 12. ³ÖÛú Öü Ö (A) : Ö Ö ÛúÖ ²ÖÓÝÖÖ»Ö ÛúÖ»ÖÖêÛú ÖÖ üûú ÃÖ ÖÛúÖ»Öß Ö»ÖÖêÛú Ö쵅 Öß üµöö ÃÖê ÖϳÖÖ ¾ÖŸÖ Æîü ÛúÖ üþö (R) :.»ÖÖêÛú ÖÖ üûú Ûêú ü ÖÔÛú êü»öß ¾Ö Ö Ö Öî ü ÃÖ Öê ÖÖ ÃÖê Ö ÖÖ Ö ÖÖê Óü Ö Ö Ûú ü üæêü Æîü ÖÖê æü üã Ö ÝÖÏÖ ÖÖë Öë ³Öß ÃÖ ü»öÿöö ÃÖê ˆ Ö»Ö² Ö Æîü (1) (A) Öî ü (R) üöê ÖÖë ÃÖÆüß Æîü (2) (A) Öî ü (R) üöê ÖÖë ÝÖ»ÖŸÖ Æîü (3) (A) ÃÖÆüß Æîü, Ö ü ŸÖã (R) ÝÖ»ÖŸÖ Æîü (4) (A) ÝÖ»ÖŸÖ Æîü, Ö ü ŸÖãü (R) ÃÖÆüß Æîü 13. Ö Ö»Ö ÜÖŸÖ ÖÖ üûúöë Ûêú ÃÖÆüß ÛúÖ»ÖÛÎú Ö ÛúÖê Öã Ö : (1) Öò ü ÖÃÖ ü ØÛúÝÖ, ÆêüøüÖ ÝÖî²Ö»Ö ü, ü Òîü Öê üß Öò±ú ØÛúÝÖ»Öß ü, ü ±ÏúÖòÝÖÃÖ (2) Öò ü ÖÃÖ ü ØÛúÝÖ, ü Òîü Öê üß Öò±ú ØÛúÝÖ»Öß ü, ÆêüøüÖ ÝÖî²Ö»Ö ü, ü ±ÏúÖòÝÖÃÖ (3) Öò ü ÖÃÖ ü ØÛúÝÖ, ü Òîü Öê üß Öò±ú ØÛúÝÖ»Öß ü, ü ±ÏúÖòÝÖÃÖ, ÆêüøüÖ ÝÖî²Ö»Ö ü (4) Öò ü ÖÃÖ ü ØÛúÝÖ, ü ±ÏúÖòÝÖÃÖ, ü Òîü Öê üß Öò±ú ØÛúÝÖ»Öß ü, ÆêüøüÖ ÝÖî²Ö»Ö ü JA Paper-II
10 14. Trace the odd among the following : (1) K aku (2) Sth ana (3) Varṇa (4) Vil asa 15. A thin metal template that creates a shadow pattern and rough texture on a desired area of the stage floor : (1) Thumbnail sketch (2) Palette (3) Gobo (4) Filter 16. Match the items in List I with those in List II : List I List II (A) Amritkeshav Nayak (i) Bengali Theatre (B) Amritalal Basu (ii) Gujarati Theatre (C) Gubbi Veeranna (iii) Hindi Theatre (D) Bharatendu Harishchandra (iv) Kannada Theatre (A) (B) (C) (D) (1) (i) (ii) (iii) (iv) (2) (iii) (iv) (i) (ii) (3) (iv) (iii) (ii) (i) (4) (ii) (i) (iv) (iii) 17. Assertion (A) : Meyerhold s actors presented only the external behaviour of a character by means of acrobatic and athletic movements. Reason (R) : He considered emotional memory and feeling important for an actor. (1) Both (A) and (R) are true. (2) Both (A) and (R) are false. (3) (A) is true, but (R) is false. (4) (A) is false, but (R) is true. Paper-II 10 JA
11 14. ¾ÖÂÖ Ö ÛúÖê Öã Ö : (1) ÛúÖÛãú (2) à ÖÖ Ö (3) ¾ÖÞÖÔ (4) ¾Ö»ÖÖÃÖ 15. ÖÖ ü ÖÓ Ö Ûêú ¾ÖÖÓ ûÿö õöê Ö Öë ÖÏ ŸÖ ûöµöö ³Ö ü Ö ÖÖ Öî ü Ö üâûéúÿö ÃÖÓ ü Ö ÖÖ ( ü±ú êüœãö Ö ü) ˆŸ Ö Ö Ûú ü Öê ¾ÖÖ»Öß ÖŸÖ»ÖÖ ÖÖŸÖã ÃÖÖÓ ÖÖ Æîü (1) Ö ²Ö Öî»Ö ÃÛêú Ö (2) Öî»Öê ü (3) ÝÖÖê²ÖÖê (4) ±ú» ü ü 16. ÃÖæ Öß-I Ûúß Ö üöë ÛúÖê ÃÖæ Öß-II Ûúß Ö üöë ÃÖê ÃÖã Öê»ÖŸÖ Ûúß Ö : ÃÖæ Öß-I ÃÖæ Öß-II (A) ÖéŸÖ Ûêú Ö¾Ö ÖÖµÖÛú (i) ²ÖÓÝÖÖ»Öß Ö ü ü (B) ÖéŸÖ»ÖÖ»Ö ²ÖÃÖã (ii) ÝÖã Ö üöÿöß Ö ü ü (C) ÝÖã²²Öß ¾Öß üö ÖÖ (iii) Æü üß Ö ü ü (D) ³ÖÖ üÿöê æü Æü üß Ö ÖÓ ü (iv) Ûú Ö ü Ö ü ü (A) (B) (C) (D) (1) (i) (ii) (iii) (iv) (2) (iii) (iv) (i) (ii) (3) (iv) (iii) (ii) (i) (4) (ii) (i) (iv) (iii) 17. ³ÖÛú Öü Ö (A) : ÖÖµÖ üæüöê» ü Ûêú ³Ö ÖêŸÖÖ Öë Öê ÛÎúÖê²Öê üûú ¾ÖÓ Ö»Öê üûú ÃÖÓ Ö»Ö ÖÖë Ûêú ÖÖ µö ÖÖë ÃÖê Ö ü Ö Ûêú¾Ö»Ö ²ÖÖÊ ¾µÖ¾ÖÆüÖ ü ÛúÖê ÖÏßÖãŸÖ ÛúµÖÖ ÖÖ ÛúÖ üþö (R) :. ˆ ÆüÖë Öê ÛúÃÖß ³Ö ÖêŸÖÖ Ûêú»Ö ³ÖÖ¾Ö-à Öé ŸÖ Öî ü ³ÖÖ¾Ö ÖÖ ÛúÖê ÖÆü ¾Ö ÖæÞÖÔ ÖÖ ÖÖ ÖÖ (1) (A) Öî ü (R) üöê ÖÖë ÃÖÆüß Æïü (2) (A) Öî ü (R) üöê ÖÖë ÝÖ»ÖŸÖ Æïü (3) (A) ÃÖÆüß Æîü, Ö ü ŸÖã (R) ÝÖ»ÖŸÖ Æîü (4) (A) ÝÖ»ÖŸÖ Æîü, Ö ü ŸÖã (R) ÃÖÆüß Æîü JA Paper-II
12 18. Give the correct sequence of the following Sanskrit playwrights : (1) K alid asa, Bhavabhuti, Bh asa, Shudraka (2) Bh asa, K alid asa, Shudraka, Bhavabhuti (3) Shudraka, Bh asa, Bhavabhuti, K alid asa (4) Bhavabhuti, K alid asa, Shudraka, Bh asa 19. Pick the odd one out in context of Elizabethan theatre : (1) Forestage (2) Front Curtain (3) Window Stages (4) Musicians Gallery 20. The concept of Kahani Rangmanch is attributed to (1) Mohan Maharshi (2) Anuradha Kapoor (3) Devendra Raj Ankur (4) Ram Gopal Bajaj 21. Match the items in List I with those in List II : List I (a) Mystery play (b) Miracle play (c) Morality play (d) The Passion play List II (i) based on the spiritual trials of the average man. (ii) revolves around the lives and the works of the saints. (iii) dramatizes the last week of Christ s life. (iv) Drawn from the books of the Bible (a) (b) (c) (d) (1) (iv) (ii) (i) (iii) (2) (iii) (ii) (i) (iv) (3) (ii) (iii) (i) (iv) (4) (iv) (ii) (iii) (i) Paper-II 12 JA
13 18. Ö Ö»Ö ÜÖŸÖ ÃÖÓÃÛéúŸÖ ÖÖ üûúûúö üöë ÛúÖê ÃÖÆüß ÛÎú Ö Öë»ÖÝÖÖ Ó : (1) ÛúÖ»Ö üöãö, ³Ö¾Ö³Öæ ŸÖ, ³ÖÖÃÖ, Öæ üûú (2) ³ÖÖÃÖ, ÛúÖ»Ö üöãö, Öæ üûú, ³Ö¾Ö³Öæ ŸÖ (3) Öæ üûú, ³ÖÖÃÖ, ³Ö¾Ö³Öæ ŸÖ, ÛúÖ»Ö üöãö (4) ³Ö¾Ö³Öæ ŸÖ, ÛúÖ»Ö üöãö, Öæ üûú, ³ÖÖÃÖ 19.»Ö ÖÖ²Öê Ö Ö Ö ü ü Ûêú ÃÖÓ ü³öô Öë ¾ÖÂÖ Ö ÛúÖê Öã Ö : (1) ±úöê üã êü Ö (2) ±ÏÓú ü Ûú ðü ÃÖ (3) Ø¾Ö üöê à êü Öê Ö (4) µöæ Ö ÖµÖ ÃÖ ÝÖî»Öê üß 20. ÛúÆüÖ Öß ÓüÝÖ ÖÓ Ö Ûúß ¾Ö ÖÖ üþöö ÛúÖ ÛúÃÖÛúÖê ÁÖêµÖ üµöö ÖÖŸÖÖ Æîü? (1) ÖÖêÆü Ö ÖÆüÙÂÖ (2) Öã üö ÖÖ Ûú Öæ ü (3) êü¾öê ü üö Ö ÓÛãú ü (4) üö Ö ÝÖÖê ÖÖ»Ö ²Ö ÖÖ Ö 21. ÃÖæ Öß-I Ûúß Ö üöë ÛúÖê ÃÖæ Öß-II ÃÖê ÃÖã Öê»ÖŸÖ Ûúß Ö : ÃÖæ Öß-I ÃÖæ Öß-II (a) üæüãµö ÖÖ üûú ( Öà Òüß»Öê) (i) ÖîÃÖŸÖ Ö Öã嵅 Ûêú Ö µöö Ÿ ÖÛú Ö üßõöþööë Ö ü Ö ÖÖ üÿö (b) Ö ÖŸÛúÖ ü ÖÖ üûú ( Ö êüûú»ö»öê) (ii) ÃÖÓŸÖÖë Ûêú Öß¾Ö Ö Öî ü ÛúÖµÖÖí Ûêú ÖÖ üöë Öê ü Öæ ÖŸÖÖ Æîü (c) Öß ŸÖ ÖÖ üûú ( ÖÖê êü»ö üß»öê) (iii) ÔÃÖÖ ÖÃÖßÆü Ûêú Öß¾Ö Ö Ûêú Ó ŸÖ Ö ÃÖ ŸÖÖÆü ÛúÖ ÖÖ üûúßûú üþö (d) Ö ÖÖÔ¾Öê Öß ÖÖ üûú ( ü Öî Ö Ö»Öê) (iv) ²ÖÖ ²Ö»Ö Ûúß ÖãßÖÛúÖë ÃÖê»ÖµÖÖ ÝÖµÖÖ (a) (b) (c) (d) (1) (iv) (ii) (i) (iii) (2) (iii) (ii) (i) (iv) (3) (ii) (iii) (i) (iv) (4) (iv) (ii) (iii) (i) JA Paper-II
14 22. Assertion (A) : Tagore treats K alidasa s Abhijnan Sh akuntala as the drama of the moral bankruptsy of sensual love and its redemption by suffering and never once refers to Shringara or Karuna rasa. Reason (R) : He condemns the hedonism of the courtly ethos depicted in the play as if that ethos had nothing to do with the production of K avya, its subject matter and treatment. (1) (A) is true, but (R) is false. (2) Both (A) and (R) are false. (3) Both (A) and (R) are true. (4) (A) is false, (R) is true. 23. Arrange the following Directors in order of their appearance in theatre : (1) Eugenio Barba, Jacques Copeau, Peter Brook, K. Stanislavsky (2) Jacques Copeau, K. Stanislavsky, Peter Brook, Eugenio Barba (3) Jacques Copeau, K. Stanislavsky, Eugenio Barba, Peter Brook (4) K. Stanislavsky, Jacques Copeau, Peter Brook, Eugenio Barba 24. Trace the odd one out : (1) Sabse Udas Kavita (2) Court Marshal (3) Kaal Kothri (4) Ek Mamooli Aadmi 25. Sakhi Kundhainata is a puppet theatre, which tells the story of Krishna and Radha. This puppet theatre belongs to (1) Bengal (2) Assam (3) Orissa (4) Tripura Paper-II 14 JA
15 22. ³ÖÛú Öü Ö (A) : îüýööê ü Öê ÛúÖ»Ö ÖÃÖ Ûêú ³Ö ÖÖ Ö ÖÓÛãúŸÖ»ÖÖ ÛúÖê ë üµö ÖÏê Ö Ûúß Öî ŸÖÛú ü¾öö»öµöê Ö Ö Öî ü ŸÖ ü Ö µö µööÿö ÖÖ ÖÖê Ö Ö Ûêú ÖÖ üûú, Ûêú ºþ Ö Öë ÖÖ ÖÖ Æîü Öî ü ÃÖê Ûú³Öß ÀÖéÓÝÖÖ ü µöö Ûú¹ýÞÖ üãö Ûúß Ûéú ŸÖ ÖÆüà ÖÖ ÖÖ Æîü ÛúÖ üþö (R) :. ˆ ÆüÖë Öê ÖÖ üûú Öë ¾ÖÙÞÖŸÖ ü ü²öö üß Ö ÖÖ ü Ûêú ÃÖãÜÖ¾ÖÖ ü Ûúß ³ÖŸÃÖÔ ÖÖ Ûúß ÖÖ ÖÖê Ûú ÃÖ Ö ÖÖ ü ÛúÖ ÛúÖ¾µÖ, ÃÖÛúß ¾ÖÂÖµÖ¾ÖßÖã Öî ü ÖÏ ŸÖ ÖÖ ü Ö ÃÖê ÛúÖê Ô»Öê ÖÖ êü ÖÖ ÖÆüà Æîü (1) (A) ÃÖÆüß Æîü, (R) ÝÖ»ÖŸÖ Æîü (2) (A) Öî ü (R) üöê ÖÖë ÝÖ»ÖŸÖ Æîü (3) (A) Öî ü (R) üöê ÖÖë ÃÖÆüß Æîü (4) (A) ÝÖ»ÖŸÖ Æîü, (R) ÃÖÆüß Æîü 23. Ö Ö»Ö ÜÖŸÖ Ö ìü ÖÛúÖë ÛúÖê ˆ ÖÛêú Ö ü ü Öë Ö ¾Ö³ÖÖÔ¾Ö Ûêú ÛÎú Ö Öë ¾µÖ¾Ö Ã ÖŸÖ Ûúß Ö (1) µöæ Ö ÖµÖÖê ²ÖÖ²ÖÖÔ, ÖêŒÃÖ ÛúÖê ÖµÖæ, Öß ü ü ²ÖÎãÛú, Ûêú. à êü ÖûÖÖ¾ÖÃÛúß (2) ÖêŒÃÖ ÛúÖê ÖµÖæ, Ûêú. à êü ÖûÖÖ¾ÖÃÛúß, Öß ü ü ²ÖÎãÛú, µöæ Ö ÖµÖÖê ²ÖÖ²ÖÖÔ (3) ÖêŒÃÖ ÛúÖê ÖµÖæ, Ûêú. à êü ÖûÖÖ¾ÖÃÛúß, µöæ Ö ÖµÖÖê ²ÖÖ²ÖÖÔ, Öß ü ü ²ÖÎãÛú (4) Ûêú. à êü ÖûÖÖ¾ÖÃÛúß, ÖêŒÃÖ ÛúÖê ÖµÖæ, Öß ü ü ²ÖÎãÛú, µöæ Ö ÖµÖÖê ²ÖÖ²ÖÖÔ 24. ¾ÖÂÖ Ö ÛúÖê Öã Ö : (1) ÃÖ²ÖÃÖê ˆ üöãö Ûú ¾ÖŸÖÖ (2) ÛúÖê Ôü ÖÖ ÖÔ»Ö (3) ÛúÖ»Ö ÛúÖêšü üß (4) Ûú ÖÖ Öæ»Öß Ö ü Öß 25. ÃÖ ÜÖ Ûãú Ö Ô Ö ü Ûú Ûúšü ÖãŸÖ»Öß Ö ü ü Æîü ÖÖê ÛéúÂÞÖ Öî ü üö ÖÖ Ûúß ÛúÆüÖ Öß ÃÖã ÖÖŸÖÖ Æîü µöæü Ûúšü ÖãŸÖ»Öß Ö ü ü ÛúÆüÖÑ ÛúÖ Æîü? (1) ²ÖÓÝÖÖ»Ö (2) ÃÖ Ö (3) ˆ ÌüßÃÖÖ (4) Ö Öã üö JA Paper-II
16 26. Match the items in List I with those in List II : List I (a) The natural and realistic representation, devoid of graceful artificial movements of limbs. (b) The involuntary physical manifestations of emotions which can be expressed only through identification with character s emotions. (c) The story elements of drama which are described through speech and are not to be directly presented on the stage. (d) The representation based on the imagination, consisting of graceful expressions and dramatic conventions. List II (i) Suchya (ii) Nātya dharmi (iii) Sāttvika (iv) Lokadharmi (a) (b) (c) (d) (1) (iv) (iii) (i) (ii) (2) (i) (iv) (ii) (iii) (3) (ii) (i) (iii) (iv) (4) (iii) (ii) (iv) (i) 27. Assertion (A) : Within the parameters of the production concept, stage lighting is usually designed to enhance the mood of the play as unobtrusively as possible. Reason (R) : Creating a mood with light is one of the easiest and, at the same time, most difficult aspects of stage lighting. (1) Both (A) and (R) are true. (2) Both (A) and (R) are false. (3) (A) is true and (R) is false. (4) (A) is false and (R) is true. Paper-II 16 JA
17 26. ÃÖæ Öß-I Ûúß Ö üöë ÛúÖê ÃÖæ Öß-II ÃÖê ÃÖã Öê»ÖŸÖ Ûúß Ö : ÃÖæ Öß-I (a) ÓÝÖÖë ÛúÖ ÖÏÖÛéú ŸÖÛú Öî ü µö ÖÖ ÖÔ ÖÏßÖãŸÖßÛú üþö ÖÖê»ÖÖ»ÖŸµÖ ÖæÞÖÔ, Ûéú Ö Ö ÃÖÓ Ö»Ö Ö ü ÆüŸÖ Æîü (b) ³ÖÖ¾Ö ÖÖ Öë ÛúÖ Öî ûûú ÖÏÛú üßûú üþö ÖÃÖê Ö ü Ö Ûúß ³ÖÖ¾Ö ÖÖ Öë Ûêú ÃÖÖ Ö ŸÖÖ üöÿ µö Ûêú ÖÖ µö Ö ÃÖê ³Ö¾µÖŒŸÖ ÛúµÖÖ ÖÖ ÃÖÛúŸÖÖ Æîü (c) ÖÖ üûú ÛúÖ Ûú ÖÖ ŸÖ ¾Ö ÖÃÖê ¾ÖÖ ÖÛú Ûêú ÖÖ µö Ö ÃÖê ¾ÖÙÞÖŸÖ ÛúµÖÖ ÖÖŸÖÖ Æîü, ÖÃÖê ÖÓ Ö Ö ü ÖÏŸµÖõÖŸÖ: ÖÏßÖãŸÖ ÖÆüà ÛúµÖÖ ÖÖŸÖÖ Æîü (d) Ûú» Ö ÖÖ Ö ü Ö ÖÖ üÿö ÖÏßÖãŸÖßÛú üþö ÖÃÖ Öë»ÖÖ»ÖŸµÖ ÖæÞÖÔ ³ÖÖ¾Ö ÖÏ ü ÖÔ Ö Öî ü ÖÖ üûúßµö ºþ œìüµööñ ŸÖÙ¾Öü ü Æïü (a) (b) (c) (d) (1) (iv) (iii) (i) (ii) (2) (i) (iv) (ii) (iii) (3) (ii) (i) (iii) (iv) (4) (iii) (ii) (iv) (i) ÃÖæ Öß-II (i) ÃÖã µö (ii) ÖÖ ü Ö Öá (iii) ÃÖÖ Ÿ¾ÖÛú (iv)»ööêûú Ö Öá 27. ³ÖÛú Öü Ö (A) : Ö ÖŸÖÖî ü Ö ü ÖÖ ü ÖÏßÖã ŸÖ Ûúß ¾Ö ÖÖ üþöö Ûêú ÖÖ Ö Óü üöë Ûúß ÃÖß ÖÖ Öë üæüÿöê Æãü ÖÖ üûú Ûêú Öæ ü (³ÖÖ¾Ö ü ÖÖ) ÛúÖ ÖÛú ÃÖê ÖÛú ²ÖÖ ÖŸÖ ÃÖÓ¾Ö Ôü Ö Ûú ü Öê Ûêú»Ö ÖÓ Ö- ÖÏÛúÖ Ö ÛúÖ ÖµÖÖê Ö Ö ÛúµÖÖ ÖÖŸÖÖ Æîü ÛúÖ üþö (R) : (1) (A) Öî ü (R) üöê ÖÖë ÃÖÆüß Æïü (2) (A) Öî ü (R) üöê ÖÖë ÝÖ»ÖŸÖ Æïüü (3) (A) ÃÖÆüß Öî ü (R) ÝÖ»ÖŸÖ Æîü (4) (A) ÝÖ»ÖŸÖ Öî ü (R) ÃÖÆüß Æîü ÖÏÛúÖ Ö Ûêú ˆ ÖµÖÖêÝÖ «üö üö Öæ ü ÛúÖ ÃÖé Ö Ö Ûú ü ÖÖ ÖÓ ÖßµÖ ÖÏÛúÖ Ö ü Ö ÖÖ ÛúÖ Ûú ÖÃÖÖ Ö Öî ü ÃÖÖ Ö Æüß, ÃÖ¾ÖÖÔ ÖÛú Ûú šü Ö ÖÆü»Öæ Æîü JA Paper-II
18 28. Give the correct sequence of the following plays of Girish Karnad : (1) Yayati, Tughlaq, Hayavadana, Naga-Mandala. (2) Tughlaq, Hayavadana, Yayati, Naga-Mandala. (3) Yayati, Hayavadana, Naga-Mandala, Tughlaq. (4) Yayati, Tughlaq, Naga-Mandala, Hayavadana. 29. Pick the odd one out : (1) Tamasha (2) Latit (3) Bharud (4) Bhavai 30. In which country, Commedia dell arte developed during Renaissance? (1) Italy (2) England (3) France (4) Spain 31. Match the items in List I with those in List II : List I (a) Peter Schumann (b) Barney Simon & Mannie Manim (c) Honor Fordsmith (d) Richard Schechner List II (i) Sistren Theatre Collective (ii) The Performance Group (iii) Bread and Puppet Theatre Company (iv) Market Theatre (a) (b) (c) (d) (1) (iii) (iv) (ii) (i) (2) (iv) (ii) (i) (iii) (3) (iii) (iv) (i) (ii) (4) (ii) (i) (iv) (iii) Paper-II 18 JA
19 28. ÝÖ üß Ö Ûú ÖÖÔ ü Ûêú Ö Ö»Ö ÜÖŸÖ ÖÖ üûúöë ÛúÖ ÃÖÆüß ÛÎú Ö ²ÖŸÖÖ Ñ : (1) µöµöö ŸÖ, ŸÖãÝÖ»ÖÛú, ÆüµÖ¾Ö ü Ö, ÖÖÝÖ ÖÓ ü»ö (2) ŸÖãÝÖ»ÖÛú, ÆüµÖ¾Ö ü Ö, µöµöö ŸÖ, ÖÖÝÖ ÖÓ ü»ö (3) µöµöö ŸÖ, ÆüµÖ¾Ö ü Ö, ÖÖÝÖ ÖÓ ü»ö, ŸÖãÝÖ»ÖÛú (4) µöµöö ŸÖ, ŸÖãÝÖ»ÖÛú, ÖÖÝÖ ÖÓ ü»ö, ÆüµÖ¾Ö ü Ö 29. ¾ÖÂÖ Ö ÛúÖê Öã Ö : (1) ŸÖ ÖÖ ÖÖ (2)»Ö»ÖŸÖ (3) ³Öºþ ü (4) ³Ö¾ÖÖ Ô 30. Ö Ö»Ö ÜÖŸÖ êü ÖÖë Öë ÃÖê ÛúÃÖ Öë Öã Ö ÖÖÔÝÖ üþö µöãýö Ûêú üöî üö Ö ÛúÖò Öê üµöö êü»ö ÖŸÖì ÛúÖ ¾ÖÛúÖÃÖ Æãü Ö ÖÖ? (1) ü»öß (2) ÓÝ»Öï ü (3) ±ÏúÖÓÃÖ (4) à Öê Ö 31. ÃÖæ Öß-I Ûúß Ö üöë ÛúÖê ÃÖæ Öß-II Ûúß Ö üöë ÃÖê ÃÖã Öê»ÖŸÖ Ûúß Ö : ÃÖæ Öß-I ÃÖæ Öß-II (a) Öß ü ü Öã Öî Ö (i) ÃÖà ü ü Ö ü ü Ûú»Öî Œ ü¾ö (b) ²Ö Öá ÃÖÖ Ö Ö ¾ÖÓ Öî Öß Öî Öß Ö (ii) ü Ö±úÖì ÖÕ Ö ÝÖÏã Ö (c) ÆüÖò Ö ü ±úöê Ôü Ã Ö Ö (iii) ²ÖÎê ü Ó ü Ö Öê ü Ö ü ü ÛÓú Ö Öß (d) ü Ö Ôü Öê Ö ü (iv) ÖÖÛìú ü Ö ü ü (a) (b) (c) (d) (1) (iii) (iv) (ii) (i) (2) (iv) (ii) (i) (iii) (3) (iii) (iv) (i) (ii) (4) (ii) (i) (iv) (iii) JA Paper-II
20 32. Assertion (A) : In Indian context the traditional drama of all modes follows open time structure. Reason (R) : In a Theatrical performance the lapse of time does not bother the Indian audience. (1) Both (A) and (R) are false. (2) Both (A) and (R) are true. (3) (A) is true and (R) is false. (4) (A) is false and (R) is true. 33. Indicate the correct sequence in the context of geographical origin from North to South : (1) Bangsawan, Moro-moro, Nat pwe, Peking opera (2) Peking opera, Nat pwe, Moro-moro, Bangsawan (3) Nat pwe, Peking opera, Bangsawan, Moro-moro (4) Moro-moro, Bangsawan, Peking opera, Nat pwe 34. Pick the odd one out : (1) Dr. Stockmann (2) Burgomaster (3) Mrs. Stockmann (4) Norah 35. It is a single-act Rupaka which is one kind of dramatic monologue : (1) Vy ayoga (2) Utsrushtik anka (3) Bh a a (4) Vithi Paper-II 20 JA
21 32. ³ÖÛú Öü Ö (A) : ³ÖÖ üÿößµö ÃÖÓ ü³öô Öë ÃÖ³Öß ¾Ö ÖÖ Öë Ûêú ÖÖ ü Ö üûú ÖÖ üûú ÃÖ ÖµÖ Ûúß ²ÖÓ ü Ö ÛúÖ ÖãÃÖ üþö ÖÆüà Ûú üÿöê Æïü ÛúÖ üþö (R) : ÖÖ üûú ÃÖÓ²ÖÓ Öß ÖÏßÖã ŸÖ Öë ³ÖÖ üÿößµö ü ÖÔÛú ÃÖ ÖµÖ ÛúÖ ÓŸÖ üö»ö ²ÖßŸÖ ÖÖ Öê Ö ü Ö êü ÖÖ Ö ÖÆüà ÆüÖêŸÖê Æïü (1) (A) Öî ü (R) üöê ÖÖë ÝÖ»ÖŸÖ Æïü (2) (A) Öî ü (R) üöê ÖÖë ÃÖÆüß Æïü (3) (A) ÃÖÆüß Æîü, Ö ü ŸÖã (R) ÝÖ»ÖŸÖ Æîü (4) (A) ÝÖ»ÖŸÖ Æîü, Ö ü ŸÖã (R) ÃÖÆüß Æîü 33. ³ÖÖîÝÖÖê»ÖÛú ˆŸ Ö Ö Ûêú ÃÖÓ ü³öô Öë ˆ Ö ü ÃÖê ü õöþö ŸÖÛú Ûêú ÃÖÆüß ÛÎú Ö ÛúÖê Öã Ö : (1) ²ÖÓÝÖÃÖ¾ÖÖ Ö, ÖÖê üöê- ÖÖê üöê, Ö ü ¾Öê, ÖêØÛúÝÖ Öê Öê üö (2) ÖêØÛúÝÖ Öê Öê üö, Ö ü ¾Öê, ÖÖê üöê- ÖÖê üöê, ²ÖÓÝÖÃÖ¾ÖÖ Ö (3) Ö ü ¾Öê, ÖêØÛúÝÖ Öê Öê üö, ²ÖÓÝÖÃÖ¾ÖÖ Ö, ÖÖê üöê- ÖÖê üöê (4) ÖÖê üöê- ÖÖê üöê, ²ÖÓÝÖÃÖ¾ÖÖ Ö, ÖêØÛúÝÖ Öê Öê üö, Ö ü ¾Öê 34. ¾ÖÂÖ Ö ÛúÖê Öã Ö : (1) üöò. à üöòûú Ö Ö (2) ²ÖãÝÖÖì ÖÖà ü ü (3) ÖÃÖê Ö Ã üöòûú Ö Ö (4) ÖÖê üöæü 35. Ûú ÓÛúß ºþ ÖÛú ÖÖê Ûú»Ö- ÖÏßÖã ŸÖ ÛúÖ Æüß Ûú ÖÏÛúÖ ü Æîü (1) ¾µÖÖµÖÖêÝÖ (2) ˆŸÃÖé  üûúöóûú (3) ³ÖÖÞÖ (4) ¾Öß Öß JA Paper-II
22 36. Match the items in List I with those in List II : List I (a) Girish Chandra Ghosh (b) D.L. Roy (c) V. Venkataraya Sastry (d) E.V. Krishna Pillai List II (i) Chandra Gupta (ii) Sirazuddula (iii) Sitalakshmi (iv) Prataparudriya Natakam (a) (b) (c) (d) (1) (i) (ii) (iii) (iv) (2) (ii) (iii) (iv) (i) (3) (ii) (i) (iv) (iii) (4) (iii) (iv) (i) (ii) 37. Assertion (A) : The culture and theatre of South East Asia must be seen in the context of a long history marked by international contacts. Reason (R) : Archaeological discoveries have provided increasing evidence of the long history of local cultures and the presence of early civilizations. (1) Both (A) and (R) are true. (2) Both (A) and (R) are false. (3) (A) true, (R) false. (4) (A) false, (R) true. 38. Find the correct sequence according to their development in descending order : (1) Expressionism, Realism, Romanticism, Classicism (2) Realism, Expressionism, Romanticism, Classicism (3) Romanticism, Realism, Expressionism, Classicism (4) Classicism, Romanticism, Realism, Expressionism Paper-II 22 JA
23 36. ÃÖæ Öß-I Ûúß Ö üöë ÛúÖê ÃÖæ Öß-II Ûúß Ö üöë ÃÖê ÃÖã Öê»ÖŸÖ Ûúß Ö : ÃÖæ Öß-I ÃÖæ Öß-II (a) ÝÖ üß Ö ÖÓ ü ÖÖêÂÖ (i) ÖÓ ü ÝÖã ŸÖÖ (b) üß.»ö. üöòµö (ii) ÃÖ üö Öã üöî»öö (c) ¾Öß. ¾ÖëÛú ü üöµö ÖÖà Öß (iii) ÃÖߟÖÖ»Öõ Öß (d) Ô.¾Öß. ÛéúÂÞÖÖ Ö»»Ö Ô (iv) ÖÏŸÖÖ ÖÖºþ üßµöö ÖÖ üûú Ö (a) (b) (c) (d) (1) (i) (ii) (iii) (iv) (2) (ii) (iii) (iv) (i) (3) (ii) (i) (iv) (iii) (4) (iii) (iv) (i) (ii) 37. ³ÖÛú Öü Ö (A) : ü õöþö- Öæ¾ÖÔ ÖµÖÖ Ûúß ÃÖÓÃÛéú ŸÖ Öî ü Ö ü ü ÛúÖê ÓŸÖ üöôâ ÒüßµÖ ÃÖÓ ÖÛúÖí «üö üö ÖϳÖÖ¾Ö üö»öê ÝÖ»ÖÓ²Öê ŸÖÆüÖÃÖ Ûêú ÃÖÓ ü³öô Öë êüüöö ÖÖ ÖÖ ÖÖ Æü ÛúÖ üþö (R) : (1) (A) Öî ü (R) üöê ÖÖë ÃÖÆüß Æïü Öã üöÿö ¾Ö ÃÖÓ²ÖÓ Öß ÜÖÖê ÖÖë ÃÖê à ÖÖ ÖßµÖ ÃÖÓÃÛéú ŸÖµÖÖë Ûêú»ÖÓ²Öê ŸÖÆüÖÃÖ Öî ü Ö Óü ³ÖÛú ÃÖ³µÖŸÖÖ Ûêú ¾Öª ÖÖ Ö ÆüÖê Öê Ûêú ÖêÛúÖë ÃÖÖõµÖ ÖÏÖ ŸÖ Æãü Æïü (2) (A) Öî ü (R) üöê ÖÖë ÝÖ»ÖŸÖ Æïüü (3) (A) ÃÖÆüß Æîü, Ö ü ŸÖã (R) ÝÖ»ÖŸÖ Æîü (4) (A) ÝÖ»ÖŸÖ Æîü, Ö ü ŸÖãü (R) ÃÖÆüß Æîü 38. Ö Ö»Ö ÜÖŸÖ Ûêú ˆ ÖÛêú ¾ÖÛúÖÃÖ Ûêú ÖãÃÖÖ ü ÃÖÆüß ¾Ö üöêæüß ÛÎú Ö ÛúÖê Öã Ö : (1) ³Ö¾µÖ ŒŸÖ¾ÖÖ ü, µö ÖÖ ÖÔ¾ÖÖ ü, Ã¾Ö Óû üÿöö¾öö ü ( üöê ÖÖÓ ü ÃÖ Ö), ÖÖà ÖßµÖ¾ÖÖ ü (Œ»ÖÖÃÖß ÃÖ Ö) (2) µö ÖÖ ÖÔ¾ÖÖ ü, ³Ö¾µÖ ŒŸÖ¾ÖÖ ü, Ã¾Ö Óû üÿöö¾öö ü ( üöê ÖÖÓ ü ÃÖ Ö), ÖÖà ÖßµÖ¾ÖÖ ü (Œ»ÖÖÃÖß ÃÖ Ö) (3) Ã¾Ö Óû üÿöö¾öö ü ( üöê ÖÖÓ ü ÃÖ Ö), µö ÖÖ ÖÔ¾ÖÖ ü, ³Ö¾µÖ ŒŸÖ¾ÖÖ ü, ÖÖà ÖßµÖ¾ÖÖ ü (Œ»ÖÖÃÖß ÃÖ Ö) (4) ÖÖà ÖßµÖ¾ÖÖ ü (Œ»ÖÖÃÖß ÃÖ Ö), Ã¾Ö Óû üÿöö¾öö ü ( üöê ÖÖÓ ü ÃÖ Ö), µö ÖÖ ÖÔ¾ÖÖ ü, ³Ö¾µÖ ŒŸÖ¾ÖÖ ü JA Paper-II
24 39. Trace the odd among the following : (1) Vedik a (2) V at ayana (3) Gav aksha (4) Parivrutta 40. The Eccyclema, a wheeled platform and pinakes, painted scenery panels were used in : (1) Elizabethan theatre (2) Japanese theatre (3) Globe theatre (4) Greek theatre 41. Match the items in List I with those in List II : List I (A) Lakhon (B) Wayangkulit (C) Kolam (D) Noh List II (i) Sri Lanka (ii) Japan (iii) Java (iv) Thailand (A) (B) (C) (D) (1) (i) (ii) (iii) (iv) (2) (ii) (i) (iv) (iii) (3) (iii) (iv) (ii) (i) (4) (iv) (iii) (i) (ii) Paper-II 24 JA
25 39. ¾ÖÂÖ Ö ÛúÖê Öã Ö : (1) ¾Öê üûúö (2) ¾ÖÖŸÖÖµÖ Ö (3) ÝÖ¾ÖÖõÖ (4) Ö ü¾öé Ö 40. Ö ÆüµÖê üö ü ÖÓ Ö ÃÖߌ»Öê ÖÖ Öî ü Ö ÖÖÛúÃÖ, Öë êü ü ÃÖ Öê üß Öî Ö»ÃÖ ÛúÖ ÛúÃÖ Öë ˆ ÖµÖÖêÝÖ ÛúµÖÖ ÝÖµÖÖ ÖÖ? (1)»Ö ÖÖ²Öê Ö Ö Ö ü ü (2) ÖÖ ÖÖ Öß Ö ü ü (3) Ý»ÖÖê²Ö Ö ü ü (4) ÝÖÏßÛú Ö ü ü 41. ÃÖæ Öß-I Ûúß Ö üöë ÛúÖê ÃÖæ Öß-II Ûêú ÃÖÖ Ö ÃÖã Öê»ÖŸÖ Ûúß Ö : ÃÖæ Öß-I ÃÖæ Öß-II (A)»ÖÜÖ Ö (i) ÁÖß»ÖÓÛúÖ (B) ¾ÖµÖÖÓÝÖ Ûãú»ÖŸÖ (ii) ÖÖ ÖÖ Ö (C) ÛúÖê»Ö Ö (iii) ÖÖ¾ÖÖ (D) ÖÖêÆü (iv) ÖÖ Ô»Öï ü (A) (B) (C) (D) (1) (i) (ii) (iii) (iv) (2) (ii) (i) (iv) (iii) (3) (iii) (iv) (ii) (i) (4) (iv) (iii) (i) (ii) JA Paper-II
26 42. Assertion (A) : A majority of the drama performed in the European medieval theatre served with a purpose of reinforcing faith by depicting stories from Bible. Reason (R) : These plays provided distraction and comic relief. (1) Both (A) and (R) true. (2) Both (A) and (R) false. (3) (A) true, (R) false. (4) (A) false, (R) true. 43. Give the correct sequence of the following items of Bharata s Purvaranga, performed after removing the curtain : (1) Utth apna, N andi, Parivartana, Gitavidhi, Trigata (2) Parivartana, Trigata, N andi, Gitavidhi, Utth apna (3) N andi, Utth apna, Gitavidhi, Trigata, Parivartana (4) Gitavidhi, Utth apna, Parivartana, N andi, Trigata 44. Trace the odd one out : (1) Ellipsoidal Reflector Spotlight (2) Fresnel Spotlight (3) Electronic Dimmer Control (4) PAR Can Paper-II 26 JA
27 42. ³ÖÛú Öü Ö (A) : µöæ üöê ÖßµÖ Ö µöûúö»öß Ö Ö ü ü Öë ÖÏßÖãŸÖ Ûú ÝÖ ²ÖÆãüÃÖÓܵÖÛú ÖÖ üûúöë Öê ²ÖÖ ²Ö»Ö Ûúß ÛúÆüÖ ÖµÖÖë ÛúÖ Ö ÖÞÖ Ûú üÿöê Æãü Öà ÖÖ Ö ü Öã Ö: ²Ö»Ö êü Öê ÛúÖ ˆ êü µö Öæ üö ÛúµÖÖ ÛúÖ üþö (R) : Ö ÖÖ üûúöë Öê µöö Ö ³ÖÝ Ö ( üã ÒîüŒ Ö Ö) Öî ü ÆüÖÃµÖ ÖÛú üöæüÿö (ÛúÖ ÖÛú ü»öß±ú) ÖÏ üö Ö Ûúß (1) (A) Öî ü (R) üöê ÖÖë ÃÖÆüß Æïü (2) (A) Öî ü (R) üöê ÖÖë ÝÖ»ÖŸÖ Æïüü (3) (A) ÃÖÆüß Æîü, Ö ü ŸÖãü (R) ÝÖ»ÖŸÖ Æîü (4) (A) ÝÖ»ÖŸÖ Æîü, Ö ü ŸÖã (R) ÃÖÆüß Æîü 43. ³Ö üÿö Öã Ö «üö üö ¾ÖÙÞÖŸÖ Öæ¾ÖÔ ÓüÝÖ Ûêú ²Ö ÆüµÖÔ¾Ö ÖÛúÖ ÝÖŸÖ Ö Ö»Ö ÜÖŸÖ ÓÝÖÖë ÛúÖê ÃÖÆüß ÛÎú Ö Öë»ÖÝÖÖ Ñ : (1) ˆŸ ÖÖ Ö Ö, ÖÖ üß, Ö ü¾öÿöô Ö, ÝÖßŸÖ ¾Ö Ö, ÖÝÖŸÖ (2) Ö ü¾öÿöô Ö, ÖÝÖŸÖ, ÖÖ üß, ÝÖßŸÖ ¾Ö Ö, ˆŸ ÖÖ Ö Ö (3) ÖÖ üß, ˆŸ ÖÖ Ö Ö, ÝÖßŸÖ ¾Ö Ö, ÖÝÖŸÖ, Ö ü¾öÿöô Ö (4) ÝÖßŸÖ ¾Ö Ö, ˆŸ ÖÖ Ö Ö, Ö ü¾öÿöô Ö, ÖÖ üß, ÖÝÖŸÖ 44. ¾ÖÂÖ Ö ÛúÖê Öã Ö : (1)»Ö ÃÖÖê ü»ö ü»öêœ ü ü à ÖÖò ü»öö ü (2) ±Ïêú Ö Ö»Ö Ã ÖÖò ü»öö ü (3)»ÖêŒ ÒüÖò ÖÛú üß Ö ü ÛÓú ÒüÖê»Ö (4) ÖÖ ü Ûîú Ö JA Paper-II
28 45. The play Mahachaitra is written by : (1) Lankesh (2) H.S. Shiv Prakash (3) Girish Karnad (4) Kuvempu 46. Match the items in List I with those in List II : List I (a) Bertolt Brecht (b) Robert Cohen (c) Clive Swift (d) Donald Harber List II (i) The job of Acting (ii) Actor s Guide (iii) Acting Professionally (iv) Brecht on Theatre (a) (b) (c) (d) (1) (iv) (i) (ii) (iii) (2) (iv) (i) (iii) (ii) (3) (iv) (iii) (i) (ii) (4) (iv) (ii) (i) (iii) 47. Assertion (A) : The Sanskrit dramatist is always interested in the effect on his characters, rather than in the actual incidents themselves. Reason (R) : Even, in the interludes, he shows this preference by making maid servants and others in a household exchange their reactions to important developments that are occurring. (1) Both (A) and (R) true. (2) (A) false, (R) true. (3) Both (A) and (R) are false. (4) (A) true, (R) false. Paper-II 28 JA
29 45. ÖÆüÖ Öî ÖÖ ÖÖ üûú ÛúÃÖÛêú «üö üö»ö ÜÖŸÖ Æîü? (1)»ÖÓÛêú Ö (2) Ö. ÃÖ. Ö¾Ö ÖÏÛúÖ Ö (3) ÝÖ üß Ö Ûú ÖÖÔ ü (4) Ûãú¾Öê Öã 46. ÃÖæ Öß-I Ûúß Ö üöë ÛúÖê ÃÖæ Öß-II ÃÖê ÃÖã Öê»ÖŸÖ Ûúß Ö : ÃÖæ Öß-I ÃÖæ Öß-II (a) ²Ö ü üöê» ü ²ÖÎêŒŸÖ (i) ü ÖÖò²Ö Öò±ú ØŒ üýö (b) üö²ö Ôü ÛúÖêÆêü Ö (ii) Œ üãöô ÝÖÖ ü (c) Œ»ÖÖ ¾Ö Ã¾Ö ü (iii) ØŒ üýö ÖÏÖê±êú Ö Ö»Öß (d) üöê ÖÖ» ü ÆüÖò ü²ö ü (iv) ²ÖÎêÜŸÖ Öò Ö Ö ü ü (a) (b) (c) (d) (1) (iv) (i) (ii) (iii) (2) (iv) (i) (iii) (ii) (3) (iv) (iii) (i) (ii) (4) (iv) (ii) (i) (iii) 47. ³ÖÛú Öü Ö (A) : ÃÖÓÃÛéúŸÖ ÖÖ üûúûúö ü ÃÖ îü¾ö ¾ÖÖÃŸÖ ¾ÖÛú Ö ü ÖÖ Öë Ûúß ŸÖã»Ö ÖÖ Öë Ö Öê Ö ü ÖÖë Ö ü ˆ ÖÛêú ÖϳÖÖ¾Ö Öë ÖÛú ¹ý Ö üüööÿöö Æîü ÛúÖ üþö (R) : (1) (A) Öî ü (R) üöê ÖÖë ÃÖÆüß Æîü µöæüöñó ŸÖÛú Ûú, ÖϾÖê ÖÛú Öî ü ¾ÖÂÖÛÓú³ÖÛú Öë ³Öß ¾ÖÆü Ö Öê ÃÖ Ö ÖÖ Ö ÛúÖê, Ö üÿö ÆüÖê üæêü ÖÆü ¾Ö ÖæÞÖÔ Ö ü ÖÖ Öë Ûêú ÖÏ ŸÖ ÃÖê ¾ÖÛúÖ Öë Öî ü µööë Ûúß ÖÏ ŸÖ ÛÎúµÖÖ Ñ ˆ ÖÛêú Ö êü»öæ ¾ÖÖŸÖÖÔ»ÖÖ Ö Öë üüööûú ü, ü ÖÖÔŸÖÖ Æîü (2) (A) ÝÖ»ÖŸÖ Æîü, Ö ü ŸÖã (R) ÃÖÆüß Æîü (3) (A) Öî ü (R) üöê ÖÖë ÝÖ»ÖŸÖ Æîü (4) (A) ÃÖÆüß Æîü, Ö ü ŸÖã (R) ÝÖ»ÖŸÖ Æîü JA Paper-II
30 48. Arrange the following in a sequential order beginning from down stage to up stage (Front to Back) on a proscenium stage : (1) Cyclorama, False Proscenium, Grand drape, Grand Valance (2) Grand Valance, Grand drape, False Proscenium, Cyclorama (3) Grand drape, Grand valance, False Proscenium, Cyclorama (4) Grand Valance, Grand drape, Cyclorama, False Proscenium 49. Trace the odd one out : (1) Ambika (2) Mallika (3) Kalidas (4) Savithri 50. Bhagat is an Indian operatic folk theatre of. (1) Assam (2) Bengal (3) Manipur (4) Uttar Pradesh Paper-II 30 JA
31 48. Ö Ö»Ö ÜÖŸÖ ÛúÖê ÛúÃÖß ÖÏÖêÃÖß ÖµÖ Ö Ã êü Ö Ö ü üöˆ Ö Ã êü Ö ÃÖê Ö Óü³Ö Ûú üÿöê Æãü Ö Ã êü Ö ( ÖÝÖê ÃÖê Öß êû) Ûêú ÛÎú ÖÖ ÖãÃÖÖ ü ¾µÖ¾Ö Ã ÖŸÖ Ûú ëü : (1) ÃÖÖ Œ»ÖÖê üö ÖÖ, ±úö»ãö ÖÏÖêÃÖß ÖµÖ Ö, ÝÖÏÖÓ ü Òêü Ö, ÝÖÏÖÓ ü ¾Öê»ÖëÃÖ (2) ÝÖÏÖÓ ü ¾Öê»ÖëÃÖ, ÝÖÏÖÓ ü Òêü Ö, ±úö»ãö ÖÏÖêÃÖß ÖµÖ Ö, ÃÖÖ Œ»ÖÖê üö ÖÖ (3) ÝÖÏÖÓ ü Òêü Ö, ÝÖÏÖÓ ü ¾Öê»ÖëÃÖ, ±úö»ãö ÖÏÖêÃÖß ÖµÖ Ö, ÃÖÖ Œ»ÖÖê üö ÖÖ (4) ÝÖÏÖÓ ü ¾Öê»ÖëÃÖ, ÝÖÏÖÓ ü Òêü Ö, ÃÖÖ Œ»ÖÖê üö ÖÖ, ±úö»ãö ÖÏÖêÃÖß ÖµÖ Ö 49. ¾ÖÂÖ Ö ÛúÖê Öã Ö : (1) ²ÖÛúÖ (2) Ö»»ÖÛúÖ (3) ÛúÖ»Öß üöãö (4) ÃÖÖ ¾Ö Öß 50. ³ÖÝÖŸÖ Ö Ö Öë ÃÖê ÛúÃÖ õöê Ö ÛúÖ ³ÖÖ üÿößµö Ö Öê üö ÃÖ ü Ö»ÖÖêÛú ÖÖ üûú Æîü? (1) ÃÖ Ö (2) ²ÖÓÝÖÖ»Ö (3) Ö ÞÖ Öã ü (4) ˆ Ö ü ÖÏ êü Ö JA Paper-II
32 Space For Rough Work Paper-II 32 JA
PAPER-III POLITICAL SCIENCE
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