UGC-NET (NTA) Exam, Performing Arts, January-2025

Chronological order:
D. Antonin Artaud (1896–1948): French theorist of the Theatre of Cruelty, the earliest of the group.
A. Peter Brook (1925–2022): British director known for experimental and intercultural theatre.
B. Augusto Boal (1931–2009): Brazilian practitioner, founder of Theatre of the Oppressed.
C. Eugenio Barba (b. 1936): Founder of Odin Teatret and key figure in contemporary theatre anthropology.
Chronological order: D, A, B, C.

From junior → senior (younger → older generational cohorts):
B. Tripurari Sharma — representative of the post-1970s/80s cohort, associated with theatre-in-education, new writing, and training pedagogy; the junior-most in this set by generation.
A. Vijaya Mehta — a mid-20th-century pillar of Marathi theatre and Hindi translations/adaptations, bridging modernist practice with proscenium institutions.
C. Sheela Bhatia — a pre-independence pioneer of Punjabi theatre and pageant forms, active across mid-century cultural institutions.
D. Shanta Gandhi — an early national-movement era stalwart, mentor, and producer-director of historical/folk theatre syntheses, placed here as the senior-most in stature and generational standing.
Order (junior → senior): B, A, C, D.

Items that do not belong to the traditional set associated with Natyasangraha are:
E. Mani Pravah (Manipravalam): a literary style blending Sanskrit with regional languages (not a dramaturgical component of Natyasangraha).
C. Sangam Kavya: the corpus of ancient Tamil literature, outside the technical framework of Sanskrit dramaturgy.
By contrast, the following align with core dramatic categories:
A. Dharmi: modes of presentation/acting convention.
B. Rasa: aesthetic sentiments.
D. Geeta: song/music as a performance element.
Hence, Sangam Kavya and Mani Pravah are the two that do not belong.

Checking options:
A. Green Room: Backstage area where performers prepare.
B. Cyclorama: Large background curtain or wall at the back of the stage.
E. Cat Walk: Overhead platform for stage lighting and technical operations.
Fourth Wall (C) is a dramatic convention, and Blocking (D) is a directing term, but the question asks for "parts of theatre" (physical components), so the correct parts are Green Room, Cyclorama, and Cat Walk.
Hence, correct options is A, B, E Only.

Japanese theatre traditions include Noh, Kabuki, and Bunraku.
• Sizhou (C) and Zaju (E) are Chinese theatre/ drama forms, not Japanese.
Therefore, E and C are the ones that do not belong to Japanese theatre.

Checking options:
B. Theatre of Root connects traditional/folk drama with modern contexts: True- this movement revitalized indigenous forms by fusing them with contemporary themes.
D. Related to Indianness: True-the movement aimed to express Indian cultural identity distinct from colonial/Western models.
E. Habib Tanvir as a celebrated figure: True-his productions like Charandas Chor epitomized Theatre of Roots.
A. Girish Chandra Ghosh as father of Theatre of Root: Incorrect-he was a 19th-century Bengali theatre pioneer, but Theatre of Roots arose in the post-independence era (1970s).
C. Khamosh Adalat Jari Hai as representative drama: Incorrect- it is linked to Vijay Tendulkar's modern social realism, not Theatre of Roots. Hence, correct statements are B, D, E Only.

Checking options:

• B. Magic If: Stanislavski’s device asking actors to imagine “What if I were in this situation?”
• C. Circle of Concentration: Focus technique to control attention onstage.
• E. Emotional Memory: Recalling personal emotions to enrich performance.
• A. Psycho-Physical: A term later associated with Stanislavski’s legacy but more developed by Grotowski and later teachers.
• D. Bio-Mechanics: A system by Meyerhold, not Stanislavski.

Hence, correct options is B, C, E Only.

Sattvikabhinaya expresses involuntary physical manifestations of deep emotion, as described in the Natyasastra. The eight Sattvika Bhavas are:

• Stambha (C): Paralysis or stupor, when overwhelming emotion momentarily freezes the body.
• Romancha (D): Horripilation or goosebumps, a natural physical reaction to intense feeling.
• Sveda: Perspiration caused by heightened emotional states.
• Vepathu: Trembling from fear, excitement, or awe.
• Vaisvarya: Change in the voice under emotional stress.
• Asru: Tears expressing sorrow or joy.
• Pralaya: Fainting due to shock or extreme feeling.
• Sammoh: (sometimes listed) Delirium or confusion under emotion.

Trasa (fear) and Vitarka (deliberation) are Vyabhicaribhavas (transitory states), while Nidra (sleep) is also a Vyabhicaribhava, not Sattvika. Therefore, among the options, only Stambha and Romancha belong to Sattvikabhinaya.

The Sangeet Natak Akademi Awards 2023 in the field of theatre were conferred on the following individuals:
A. Anup Joshi – Lighting: Recognized under Allied Theatre Arts for excellence in stage lighting design, contributing innovative and expressive use of light to enhance theatrical storytelling.
D. Asif Ali – Playwriting: Honored for his outstanding contribution as a playwright, creating scripts that explore contemporary themes while preserving dramatic craft.
E. Zahoor Alam – Direction: Awarded for his direction in theatre, noted for imaginative staging, compelling narratives, and impactful interpretation of plays.
These three names represent the 2023 awardees in theatre across lighting, playwriting, and direction, making A, D, E Only the correct choice.

The ancient Sanskrit playwright Bhasa is credited with:
B. Doot Ghatotkacham: Messenger play featuring Ghatotkacha.
C. Panchratram: Another known work attributed to Bhasa.
D. Doot Vakyam: Fits Bhasa's messenger-play tradition.
Sariputra Prakaran (A) and Goraksh Vijay (E) are not Bhasa's works—they belong to Buddhist and later folk traditions respectively. Thus, B, C, D are correct.