UGC-NET (NTA) Exam, Performing Arts, December – 2023

Total Questions: 100

91. Arrange the following auditoriums according to their geographical locations from North to South:

(a) Ravindra Bharati
(b) Rabindra Sadan
(c) Ravindra Manch
(d) Ravinda Kalakshetra
Choose the correct answer from the options given below:

Correct Answer: B. (c), (b), (a), (d)
Solution:

The correct sequence from North to South is as follows: (c) Ravindra Manch is located in Jaipur, Rajasthan; (b) Rabindra Sadan is in Kolkata, West Bengal; (a) Ravindra Bharati is in Hyderabad, Telangana; and (d) Ravindra Kalakshetra is in Bengaluru, Karnataka. This order correctly reflects the geographical locations of these auditoriums from North to South.

92. Choose the correct sequential order of the 'Elements of an Action', according to (a) Terence Stanislavski system:

(a) Given Circumstances
(b) Concentration of Attention
(c) The "Magic If"
(d) Truth and Belief
(e) Imagination
Choose the correct answer from the options given below:

Correct Answer: B. (c), (a), (e), (b), (d)
Solution:

The "Magic If", (a) Given Circumstances, (e) Imagination, (b) Concentration of Attention, (d) Truth and Belief. According to Stanislavski's system, the elements of an action follow this sequential order. The "Magic If" helps actors imagine how they would behave in the character's situation.
Given Circumstances provide the context for the scene. Imagination allows actors to bring creativity to their roles. Concentration of Attention focuses the actor's mind on the performance, and Truth and Belief ensure that the actor's portrayal is genuine and believable.

93. Choose the correct sequential order of the words in the Shloka referring to 'Rangapitha' in the Vikrishta-Madhyam Natyagraha:

(a) Tu
(b) Rangapithasya
(c) Mattavarani
(d) Parsve
(e) Kartavya
Choose the correct answer from the options given below:

Correct Answer: A. (b), (d), (a), (e), (c)
Solution:

(b) Rangapithasya, (d) Parsve, (a) Tu, (e) Kartavya, (c) Mattavarani. This is the correct sequential order of the words in the Shloka referring to 'Rangapitha' in the Vikrishta-Madhyam Natyagraha. It ensures that the terms are properly aligned as per the traditional text's structure, reflecting the classical formation of the shloka.

94. Given below are two statements:

Statement I: "Purgation" and "Purification" were the common translations of Aristotle's (a) Ravindra Bharati term "Catharsis" at the turn of the century.
Statement II: Recent exponents of purificatory Catharsis include Stanislavski and Grotowski, who both have conceived of theatre as a surrogate church in which participants may become "Priests of Art" and achieve "Secular Sainthood".
In the light of the above statements, choose the most appropriate answer from the options given below:

Correct Answer: A. Both Statement I and Statement II are correct.
Solution:

Statement I accurately states that "Purgation" and "Purification" were common translations of Aristotle's term "Catharsis" around the turn of the century. Statement II is also correct, as Stanislavski and Grotowski are known for their views of theatre as a transformative experience, akin to a secular religious ritual where participants can attain a state of higher artistic and emotional awareness.
Both statements together highlight the evolution of the concept of catharsis in theatre practice and theory.

95. Given below are two statements:

Statement I: The natya or drama presents in a way a story. Bharata calls this itivrtta or vastu, the 'body' of the drama.
Statement II: It implies that rasa is the 'soul', the living essence, of drama which is revealed through the body, the plot of the play.
In the light of the above statements, choose the most appropriate answer from the options given below:

Correct Answer: A. Both Statement I and Statement II are correct.
Solution:

Statement I explains that natya or drama presents a story called itivrtta or vastu, which Bharata refers to as the 'body' of the drama.
Statement II complements this by indicating that rasa, the emotional essence or flavor, is considered the 'soul' of the drama, revealed through the plot (the body).
This duality emphasizes the importance of both narrative structure and emotional depth in creating a compelling dramatic experience. Both statements together encapsulate Bharata's comprehensive view of drama as presented in the Natyashastra.

96. Read the following passage and answer the questions given below:

The shadow theatre and puppet theatre of all varieties-rod, glove, marionette-are active in India. What it may lack in refinement and sophistication, it gains in variety and vitality when compared to the contemporary traditions of shadow theatre of the Wayang kulit, or the Nang Sbek, or Nang Yai of Indonesia, Malaysia, Cambodia or Thailand.
The wooden rod puppets of the Wayang Golek type and marionettes of the Burmese type are found in different parts of India.
In Orissa the shadow theatre is known as Ravana Chaya, literally meaning shadow of Ravana. The counterpart of the ballad singer of the Dasakathia or the 'dalang' of the Indonesian Wayang Kulit, is the reciter-manipulator of the Ravana Chaya.
The text used is the Oriya Vcitra Ramayana, as in the Dasakathia.
The Tholu Bomalattam, meaning leather puppet-dance, is a visual representation through large coloured puppets of the Burrakatha of Andhra Pradesh.
The text of the plays is drawn from the Telugu Ramayana version. The form of the puppets resembles the medieval murals of the Vijayanagara period: the shadows are gigantic and compare favourably with the Nang Sbek.
The Karnataka shadow theatre (called literally, leather puppet-dance) is another visual representation of the Kannada Ramayana. The shadow theatre of Karanataka revolving around the Rama theme, is closely related to Rama play presented as wooden puppets.
The wooden puppets resemble the Yaksagana, and the marionette theatre is indeed only another aspect of the live theatre in all the regions.
Which text is used in Ravana Chaya? 

Correct Answer: B. Telugu Ramayana
Solution:

The text used in Ravana Chaya is the Oriya Vicitra Ramayana, as mentioned in the passage. This text is integral to the performance, similar to how specific texts are used in other forms of shadow theatre and puppet theatre in different regions.

97. According to passage wooden rod puppets are used in:

Correct Answer: A. Wayang Golek
Solution:

According to the passage, wooden rod puppets of the Wayang Golek type are found in different parts of India. These puppets are part of a traditional form of puppet theatre originating from Indonesia and adapted in various regions of India.

98. According to passage Ravana Chaya literally means:

Correct Answer: B. Shadow of Ravana
Solution:

Ravana Chaya literally means "shadow of Ravana." This form of shadow theatre in Orissa focuses on depicting stories and characters from the Ramayana, with Ravana being a central figure in these narratives.

99. According to passage the shadow puppet theatre of Karnataka is closely related to:

Correct Answer: B. Rama play presented as Wooden Puppets
Solution:

The passage states that the shadow theatre of Karnataka, revolving around the Rama theme, is closely related to the Rama play presented as wooden puppets. This connection highlights the continuity between different forms of puppet theatre and live performances in the region.

100. Match List-I with List-II.

List-I (Forms) List-II (Country)
(a) Nang Sbek(i) Indonesia
(b) Bommalattam(ii) Orissa
(c) Ravana Chaya(iii) Andhra Pradesh
(d) Wayang Kulit(iv) Cambodia

Choose the correct answer from the options given below:

(a)

(b)

(c)

(d)

A.

(i)

(ii)

(iii)

(iv)

B.

(ii)

(iii)

(iv)

(i)

C.

(iv)

(iii)

(ii)

(i)

D.

(iii)

(iv)

(i)

(ii)

Correct Answer: (C)
Solution:

(a) Nang Sbek (iv) Cambodia, (b) Bommalattam - (iii) Andhra Pradesh, (c) Ravana Chaya - (ii) Orissa, (d) Wayang Kulit - (i) Indonesia. This matching correctly associates the forms with their respective countries or regions.
Nang Sbek is a form of shadow theatre in Cambodia, Bommalattam is from Andhra Pradesh, Ravana Chaya is from Orissa, and Wayang Kulit is a traditional puppet theatre from Indonesia.