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

To arrange these theatre training and research institutions from South to North:
E. Kalamandalam - Located in Cheruthuruthy, Kerala (southernmost).
B. Ninasam Theatre Institute - Located in Heggodu, Karnataka (north of Kerala).
A. Bharat Bhavan - Located in Bhopal, Madhya Pradesh (Central India).
D. Natya Shodh Sansthan - Located in Kolkata, West Bengal (eastern India, north of Bhopal).
C. Natrang Pratishthan - Located in New Delhi (northernmost).
Thus, the correct order is: E, B, A, D, C.

Arrange the puppetry traditions from North to South of India:

• B. Kathputli → A string puppet tradition from Rajasthan, located in the north of India.
• C. Ravan Chhaya → A shadow puppet tradition from Odisha, in eastern/central India.
• A. Tholu Bommalata → A shadow puppet tradition from Andhra Pradesh, in southern India.
• E. Togalu Gombeyatta → A shadow puppet tradition from Karnataka, located southwest of Andhra Pradesh.
• D. Thol Pava Koothu → A shadow puppet tradition from Kerala, the southernmost tip of India.

Thus, the correct arrangement from North to South is: B, C, A, E, D

Checking options:

A. Stanislavsky’s productions at the Moscow Art Theatre are remarkable examples of realism, as they emphasized naturalistic settings and psychological depth in acting.
C. Duke of Saxe-Meiningen is credited with introducing realism in theatre through historically accurate sets, costumes, and ensemble acting.
E. Plays of Zola, Ibsen, and Strindberg dealt with realism and naturalism, highlighting social realities and everyday life.
B. is incorrect because Theatre Libre was founded by André Antoine, not Artaud.
D. is not considered central in the correct option set.
Hence, correct statements is A, C and E only.

We need to identify which Sanskrit playwrights lived between the 7th to 8th century CE:

• A. Asvaghosa – 1st–2nd century CE (not 7th-8th).
• B. Visakhadutta – believed to be around 6th-7th century CE (some uncertainty, but not clearly 7th-8th)
• C. Bhavabhuti – 7th–8th century CE, contemporary of King Yashovarman of Kannauj.
• D. Bhasa – much earlier (likely 2nd-3rd century CE).
• E. Mahendravikram Varma I (Pallava king, also playwright) – 7th century CE.

So, correct playwrights of 7th-8th century = Bhavabhuti (C) and Mahendravikram Varma (E).
Visakhadatta is usually palced before Bhavabhuti, around 6th century (some say Gupta/post-Gupta). So only C and E fit perfectly.
But since options are grouped, the closest match is: B, C and E only.

Charandas Chor (1974) is a celebrated play by Habib Tanvir, adapted from a folktale that he heard from Vijaydan Detha, the noted Rajasthani folklorist. Tanvir not only wrote and directed the play but also at times acted in it himself, which added to its unique presence on stage.

• A. Correct – The play was written by Habib Tanvir.
• C. Correct – The folktale source came from folklorist Vijaydan Detha.
• E. Correct – Habib Tanvir himself acted in the play.

Why others are incorrect:

• B. Incorrect – The story is based on a Rajasthani folktale, not a Kannada one.
• D. Incorrect – While Tanvir often worked with Chhattisgarhi folk performers, this option misframes the play as Rajasthani tribal-based; his troupe Naya Theatre was primarily rooted in Chhattisgarh traditions.

Hence, A, C, and E are correct.

Badal Sircar (1925–2011), one of the most influential modern Indian playwrights, is well known for his “Third Theatre” movement and impactful works focusing on social and political issues. His major plays include Baki Itihas, Ballabhpurer Rupkatha, Bhoma, Pagla Ghoda, and Michhil.

• A. Barricade – NOT by Badal Sircar. It is a play by Utpal Dutt.
• B. Baki Itihas – YES, an early play by Badal Sircar, first staged in 1965.
• C. Ballabhpurer Rupkatha – YES, one of his most famous plays, written in 1961.
• D. Bhoma – YES, a later experimental play by him.
• E. Nilranger Ghoda – NOT by Badal Sircar. It is written by Manoj Mitra.

So, the correct set of plays by Badal Sircar is B, C, and D only.

Let us carefully check each combination:

• A. Arvind Deshpande – Awishkar → Correct. He, along with his wife Sulabha Deshpande, co-founded the theatre group Awishkar in Mumbai.
• B. Shombhu Mitra – Ranga Karmee → Incorrect. Shombhu Mitra founded Bohurupee, not Ranga Karmee. Ranga Karmee was founded later by Usha Ganguly in Kolkata.
• C. Neelam Mansingh Choudhary – Rangayan → Incorrect. Rangayan was founded by Vijay Tendulkar and others in Maharashtra. Neelam Mansingh Choudhary is known for her The Company repertory in Chandigarh, not Rangayan.
• D. K.V. Subbanna – Ninasam → Correct. K.V. Subbanna founded Ninasam (Nilakanteshwara Natyaseva Sangha) in Heggodu, Karnataka.
• E. Jabbar Patel – Theatre Academy → Correct. Jabbar Patel is associated with Theatre Academy, Pune, known especially for the iconic play Ghashiram Kotwal.

So the correct combinations are A, D, and E only.

The Russian Avant-garde theatre movement was active during the early 20th century and included experimental directors who broke away from naturalism and realism.

• A. Antonin Artaud → He was French, known for Theatre of Cruelty, not Russian avant-garde.
• B. Meyerhold (Vsevolod Meyerhold) → A central figure of the Russian avant-garde, he developed biomechanics and constructivist staging.
• C. Jacques Copeau → French theatre director, not part of the Russian avant-garde.
• D. Vakhtangov (Yevgeny Vakhtangov) → A Russian director, student of Stanislavski, who combined Stanislavski’s realism with Meyerhold’s stylization, strongly linked to the Russian avant-garde.
• E. Robert Wilson → An American experimental director, associated with postmodern theatre, not Russian avant-garde.

Thus, the two correct directors are B. Meyerhold and D. Vakhtangov.

The Theatre of Roots movement in India (1970s-80s) emphasized returning to indigenous traditions, folk forms, and classical sources to create modern Indian theatre.
A. Mohan Maharishi → He was influenced by modern and experimental trends but not a key figure in Theatre of Roots.
B. B.V. Karanth → Known for integrating folk and traditional forms into contemporary theatre, a major figure in the Theatre of Roots.
C. K.N. Panikkar → Another important figure, he incorporated elements of Kerala's traditional forms (like Koodiyattam and Theyyam) into his productions.
D. D.R. Ankur → More connected to contemporary experimental theatre, not directly to the Roots movement.
E. Ebrahim Alkazi → He was associated with modern proscenium theatre and institutional training at NSD, not with the Theatre of Roots.
So the correct pair is B. B.V. Karanth and C. K.N. Panikkar.

Scenography is primarily about the visual, spatial, and design aspects of theatre, including set, lighting, costumes, and stage composition. It focuses on constructing the world of the performance for the stage.
A. Theatre music → This belongs to sound/aural design, not scenography (which is primarily visual/spatial).
B. Actor's presence in stage space → Directly related to scenography, since their movement and use of stage is part of the designed mise-en-scène.
C. Audience viewing experiences → This is an outcome of scenography but not itself part of the design.
D. Front of House (F.O.H.) activities → Administrative/venue-related, not design.
E. Lighting design → A key aspect of scenography.
Thus, the two that most clearly do not come under scenography are: A. Theatre music and D. Front of House activities.