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

In the Natyashastra, Bharata speaks about five introductory or presentation devices such as Vishkambhaka and Praveshaka under the term Arthopakshepaka.
These devices are used to introduce and advance the plot, providing background information or context necessary for understanding the main action. Sandhis refer to the junctions or divisions in a dramatic plot, Karyavasthas are the stages of action in drama, and Arthaprakrtis are the fundamental elements or categories of dramatic composition.
Thus, Arthopakshepaka specifically encompasses the techniques for introducing and presenting scenes or characters in a play.

In the Sanskrit classical drama 'Uttara Rama charita' by Bhavabhuti, the device of garbhank, or play within a play, is employed by the dramatist. This technique is used to present a story within the main story, adding layers to the narrative and enhancing its depth. Pancharatra, Mattavilasa, and Mahaveer Charita do not utilize this specific device.
The use of garbhank in Uttara Rama charita allows the playwright to explore complex themes and provide additional perspectives within the main storyline.

Vsevolod Meyerhold, a Russian theatre director and actor, advocated that theatre should not mirror reality but should transcend the commonplace of everyday life by deliberately exaggerating and distorting reality through stylized theatrical techniques.
Meyerhold's approach emphasized the artificiality of theatre, using biomechanical movements, abstract settings, and exaggerated expressions to create a distinct and heightened theatrical experience.
Brecht, Peter Brook, and Augusto Boal also had significant contributions to theatre theory, but Meyerhold's ideas specifically focused on breaking away from naturalism to create a more symbolic and expressive form of theatre.

Denis Diderot, an 18th-century French philosopher, advocated a theory of acting in which it is argued that great actors do not experience the emotions they are displaying. Instead, they use technique and craft to portray emotions convincingly.
This approach contrasts with the ideas of Konstantin Stanislavsky, who emphasized the importance of actors genuinely experiencing the emotions of their characters.
Jacques Copeau and Elia Kazan also contributed to theatre and acting theories, but Diderot's perspective on the separation of actor's personal emotions from their performance is encapsulated in his "Paradox of Acting."

In Commedia Dell'arte, a form of Italian theatre characterized by masked types, the stock characters of "Masters" include Pantalone, Dottore, and Capitano. Pantalone is a miserly old man, Dottore is a pedantic scholar, and Capitano is a boastful and cowardly soldier.
Columbine, on the other hand, is not a "Master" but a "Servant" or "Zanni" character, often portrayed as a clever and resourceful maid who aids the lovers. Therefore, Columbine is the character that does not belong to the category of "Masters."

In ancient Greek theatre, tragic actors wore a long garment called a chiton, which reached from the neck to the ankles. This garment was part of the elaborate costumes that helped convey the character's role and status. Onkos refers to the high headdresses worn by tragic actors, cothurnus are the thick-soled boots, and soccus are the soft shoes worn by comic actors.
The chiton was a fundamental part of the tragic actor's attire, enhancing their appearance and aiding in the dramatic presentation.

Thespis, the first actor in Greek drama, is said to have used a mask made of linen. This early form of mask allowed actors to portray different characters and emotions, laying the groundwork for the development of theatrical masks in ancient Greek theatre. Painted wood, terra cotta, and baked clay were not used for these early masks. Linen masks were light and flexible, making them suitable for the dynamic performances of ancient Greek actors.

A form of minimum scenery that is complete as to the floor plan but not normal in height is called cut-down scenery.
This type of scenery is used to suggest a full setting without constructing full-height walls, often used to save space and resources while still providing a visual context for the action. Realistic setting aims to replicate a real environment in detail, cut drop scenery involves painted backdrops, and a jackknife stage is a rotating stage mechanism.
Cutdown scenery is specifically designed to provide a functional and economical solution for staging.

When we turn our hand, index finger extended, in a continuous series of loops to describe a spiral-shaped object, we are using a graphic gesture. Graphic gestures visually represent the shape or motion of an object, helping to convey a clear image to the observer.
Plastic gestures are more fluid and expressive, denotative gestures explicitly indicate specific meanings, and expressive gestures convey emotions.
In this context, the looping motion of the hand to depict a spiral is a graphic gesture, illustrating the shape directly.