KSET Syllabus Performing Arts

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KARNATAKA STATE ELIGIBILITY TEST (K-SET)
FOR ASSISTANT PROFESSOR

Subject: PERFORMING ARTS Subject Code: 39

SYLLABUS

Unit 1 To 5 Common Syllabus For Dance and Drama/Theatre

Unit - 1 : Cultural History Of India

 Cultures of India from pre-historic to CE 1200
 Evolution of Art in pre-historic and historic periods, as evidence in cava paintings,
sculptures and other visual representations
 Evolution of dance and drama (Natya), (a) the divine origin theory according to
Natyasastra, and, (b) art as a product of society, its ritual and belief systems
 The Vedas, major epics and puranas (Ramayana, Mahabharata, Cilappadikaram and
Bhagavatapurana) in terms of their content, character and relevance to dance and theatre
 Bhakti and various religious movements and their influence on different representative
aspects of culture with focus on dance and theatre

UNIT – 2 : FOLK TRADITIONAL THEATRE FORMS OF INDIA
 Understanding and defining the terms Tribal, Folk, Traditional and Classical in the
context of Indian dance and drama and their interrelation
 Introduction to the different tribal, folk and traditional dance and theatre forms spread
over various regions of India.
 Introduction to regional theatrical practices of Kudiattam, Yakshagana, Bhagavatamela,
Tamasha, Ramalila, Rasalila, Bhavai, Nautanki, Jatra, Chhau, Laiharaoba, Therukoothu,
Theyyam, Ankia-nat, Pandvani, Chindu Bhagavata, Bhand Jashan and others
 Awareness of various musical instruments, costumes and make-up used in these forms

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UNIT – 3 : THE NATYASASTRA
 Knowledge of Natyasastra and the concept of Natya and Nritta
 Study of chapters relating to the eleven aspects (ekadash sangraha) such as, Abhinayas,
Dharmis, Vrittis, Pravrittis and Aatodyas. Samanya and Chitrabhinayas and their
classification
 Dasarupakas
 Natyagruha (Playhouse ) and Ranga – Construction, types and different elements
 Poorvarangavidhi and Stage Conventions viz. Kakshya Vibhag etc.

UNIT – 4 : ART AND AESTHETICS
 ‘Rasasutra’ of Bharata
 Elaboration of the theory of Rasa by commentators like Bharttalollata, Sri Sankuka,
Bhattanayaka Nad Abhinavagupta.
 Rasa and its constituent elements, viz., sthayi, sanchari and sattavika bhavas and their
Correspomding Vibhavas and Anubhavas
 Definition, Purpose and elements of Art
 A brief introduction to Performance studies and significant western theories on Art : ‘Art
As Imitation/Catharsis’, ‘as Imagination’, ‘as Beauty’, ‘as Communication’ and ‘as
Utility’ put forth by various philosophers

UNIT– 5 : DANCE AND THEATRE FORMS OF EAST AND SOUTH ASIAN
COUNTIRES
 An overview of dance and theatre forms of east Asian (China, Japan and Korea), South
Asian ( Bangladesh, Pakistan and Sri Lanka) and South –East Asian (Indonesia,
Thailand, Vietnam, Cambodia, Myanmar, Philippines and Laos) countries
 History and presentation techniques of various popular theatre and dance forms of the
above countries

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DANCE

UNIT. 6 : DANCE IN SANSKRIT LITERATURE AND TREATISES

 A brief study of references to dance in the works of Kalidasa, Bhasa, Sudraka and others
 General understanding of the concepts relating to dance from texts of ancient and
medieval period – Natyasastra, Abhinaya Darpana, Sangeeta Ratnakara, Nritta Ratnavali
and Nartana Nirnaya. Concpets include Natya, Nritta, Nritya, Lasya, Tandava, Marga,
Desi, Baddha, Anibaddha, Nartaki Lakshana, Sabha Lakshana and the like. Also specific
study of the Padas, Hastas, Caris, Mandalas and Karanas, and Anga, Upanga and
Pratyanga movements
 Detailed study of Abhinaya Darpana along with introduction to other region/form
specific texts like Hasta Lakshana Deepika, Balarama Bharatam, Abhinaya Chandrika,
Srihaasta Muktavali and others
 The various categories and typologies of Nayakas and Nayikas and their avasthas
according to Bharata’s Natyasastra, Saradatnaya’s Bhavaprakasana, Bhanudatta’s
Rasamanjari and Akbar Shah’s Sringaramanjari

UNIT – 7 : INDIA CLASSICAL DANCE

 Origin and history of Indian classical dance
 Evolution, Technique, Costumes, Music, Gurus and pioneers of Bharatanatyam, Kathak,
Kathakali, Kuchipudi, Manipuri, Mohiniattam, Odissi And Sattriya
 General Understanding of major Talas of Hinsustani and Carnatic music traditions
 A brief study of Composers / Vaggeyakaras and their works including Jayadeva,
Narayanateertha, Surdas, Meera Bai, Tulasidas, Vanamalidas, Kshetryya, Srimanta
Shankar Deva, Govindadas, Vidyapati, and others.
 Study of the role Rabindranath Tagore, Rukmini Devi Arundale, Vallathole Narayana
Menon, Madame Menaka and others in the revival and reconstruction of classical dance

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UNIT – 8 : INDIAN CLASSICAL DANCE IN INDEPENDENCE INDIA
 An overview of major Gurus, performers, their works and important institutions in
Independence India
 Institutionalization of dance and its effect on form, pedagogy, repertoire etc.
 The new wave in Indian dance – its development through the works of uday shanker and
Ram Gopal and the later major contemporary artists and their works. (Eg. Shantibardhan,
Narendra Sharma, Sachin Shanker, Mrinalini Sarabhai, Maya Rao, Kumudini Lakhia,
Manjusri Chaki Sarkar, Chandralekha, Astad Deboo and others)
 Indian Classical Dances in diaspora
 Patronage to Dance – the role of government and private bodies
 Awareness of important dance festivals, awardees and current happenings in dance

UNIT – 9 : Dance Education, Pedagogy and Research
 Dance as part of curriculum in school education and Universities
 Movement Analysis based on kinesthtics and Laban System
 Eminent scholars and their works, who contributed significantly to the knowledge of
Indian dance
 Key inroads in dance training and research in India from the 1930’ to the present like
applied area of dance, therapy, cross-cultural training etc.

UNIT – 10 : INTERNATIONAL DANCE AND INTERACTIONS
 Study of the history and development of classical ballet in Europe, Russia and America
 Emergence of Modern Dance in the west and major personalities involved
 Influence of the West on Indian dance in terms of production design.

DRAMA/ THEATRE

Unit – 6: Drama and its theories : Indian and Western
 Concept of Drama – Indian And Western
 Elements and structure of drama according to Indian and Western Dramaturgy

4

 A brief study of different classifications of Western Dramas – tragedy, comedy, tragic
comedy, melodrama and farce
 A Brief introduction to various ‘isms’ in relation to drama including realism, naturalism,
symbolism, expressionism, absurd and epic
 Playwrights and their contribution:
Sanskrit – Kalidasa, Bhasa, Sudraka, Bhavabhuti, Visakhadutta, Bhattanarayana; Ancient
Greek And Roman – Aeschylus, Sophocles, Euripides, Aristophanes, Seneca Western –
Shakespeare, Moliere, Ibsen, Brecht, Pirandello, Miller, Chekov, Beckett, Lonesco

Unit – 7 : Modern Indian Theatre
 Origin and development of modern Indian theatre with reference to region, state and
personalities
 A brief study of new trends in theatre since independence movement both at natoinal and
regional level, such as, IPTA Movement, Navanatya movement, Root Theatre
Movement, Thrid Theatre, Alternate Theatre, Street Theatre, Theatre of the oppressed,
Applied Theatre, Forum Theatre, Site Specific Theatre
 An overview of major playwrights, directors and other contributing personalities of
various regions, whose plays are widely performed at the national level.
 Popular Play House, Theatre Companies, Institutions And Groups In India and Their
Contribution

UNIT – 8 : ACTING AND DIRECTION
(A)
 Different schools of acting – Western And Eastern
1. Early Period – Greek, Roman, Elizabethan, Commedia Dell’ arte
2. Modern Period – Representational, Stanislavsky, Meyerhold, Brecht, Grotowski
3. Eastern – Sanskrit, Peking Opera, Noh, Kabuki
 Role of Mime, Voice, Speech, Improvisation and Physical Theatre in actor’s training

(B)
 Different directorial innovations and methods

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 Role of director in Theatre
 Fundamentals of play direction: Balance, emphasis, composition, picturisation, movement,
tempo and rhythm
 Process of production : script to performance

(C)
 Ideas on Production
1. Realistic : Duke Of Sexe Meiningen, Stanislavsky, Elia Kazan, Antione
2. Non-Realistic : Brecht, Meyerhold, Peter Brook, Augusto Boal
 Impact of above ideas on post independent Indian Theatre movements

UNIT – 9 : THEATRE DESIGN AND TECHNIQUES
(A)
 Theatre Architecture : Greek, Roman, Elizabethan, Thrust Stage, Proscenium, Arena,
Open Stage.
 Sanskrit : Vikrishta – Madhyam Natyagruha
 Chinese, Japanese play houses of classical era

(B)
 Stage craft : Fundamentals and Functions of sets, lights, costumes, make-up, sound,
props, other arts and theatre music in terms of various kinds of play production
 Aharya and Nepathya vidhi in classical Indian, Chinese, Japanese and Indian Traditional
Theatre

(C)
 Theatre Management Organization

(D)
 Children’s theatre, applied theatre, community theatre, theatre in education, Theatre of
oppressed and feminist theatre

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UNIT – 10 : THEATRE EDUCATION, PEDAGORY AND RESEARCH
 Theatre as part of curriculum from primary education and in University System
 Relevance of traditional theatre training
 Movement analysis based on kinesthetics, Yoga, Theatre Game, Martial Arts, Folk,
Puppetry and other forms
 Eminent scholars and their works who contributed to the knowledge of Indian Theatre
 Trends In Indian Theatre Research and Scholarship in India
 Patronization to theatre – major institutions, organizations, Government, corporate, private
bodies and personalities after independence
 Awareness of important theatre festivals, awardees and current affairs in theatre

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