KSET 2020 Question Paper Performing Arts

Paper : II

Booklet SERIAL No.
Subject : Performing Arts
Subject Code : 39

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OMR Sheet No. : ____________________

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Time : 2 Hours Maximum Marks : 200
Number of Pages in this Booklet : 40 Number of Questions in this Booklet : 100
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K – 3920 1 ±Üâ.£.®æãà./P.T.O.

±ÜŨÜÍÜì®Ü PÜÇæWÜÙÜá
±æà±ÜÃ… – II

WÜÊÜá¯Ô : D ±Ü£ÅPæ¿áá (100) ®ÜãÃÜá ÊÜÓÜ᤯ÐÜuÊÜÞ¨ÜÄ¿á ±ÜÅÍæ°WÜÙÜ®æã°ÙÜWæãíw¨Ü᪠, ±ÜÅ£Áãí¨Üá ±ÜÅÍæ°¿áã
GÃÜvÜá (2) AíPÜWÜÙÜ®Üá° Öæãí©¨æ. GÇÝÉ ±ÜÅÍæ°WÜÙÜ®Üã° PÜvÝx¿áÊÝX EñܤÄÓܸæàPÜá.
1. ±ÜŨÜÍÜì®Ü PÜÇæWÜÙÜ ËPÜÓÜ®Ü ÊÜáñÜᤠA¼ÊÜê©œ¿á®Üá° 3. A¯¿áñÜÊݨÜá¨Ü®Üá° WÜáÃÜá£ÔÄ.
E±ÜÆŸªËÃÜáÊÜ PæÙXÜ ®ÜÊâÜ WÜÚí¨Ü ±Üñ¤æ ÖÜaŸ cÜ ÖÜá¨Üá. (A) ÊÜá®æãàÃÜÊÜá
i. ÎƳPÜÇæ, bñÜÅPÜÇæWÜÙÜá, (ÊÜ|ì bñÜÅWÜÙÜá)
ÍÝÓÜ®ÜWÜÙÜá ÊÜáñÜᤠÓÝ×ñÜ (B) ÓÝÌ£
ii. bñÜÅPÜÇæWÜÙÜá, ÍÝÓÜ®ÜWÜÙÜá, ˨æàÎ (C) PÜÆ»Ü
±ÜÅ¿Þ~WÜÃÜ ¯ÃÜã±ÜOæWÜÙÜá ÊÜáñÜᤠ±ÜÅPÜÃÜ|
(D) ÓÜá¨Ü£
WÜÅí¥ÜWÜÙÜá
iii. ÍÝÓÜ®ÜWÜÙÜá, Ÿpær Ë®ÝÂÓÜWÜÙÜá, WÜáÖÝ
bñÜÅPÜÇæWÜÙÜá ÊÜáñÜᤠÖÜÙæ¿á ®Ý|ÂWÜÙÜá 4. PæÙXÜ ®Ü ¿ááWÜÙ¨ Ü È
Ü É ¿ÞÊÜâ¨ÜÃÈ
Ü É ‘ÊÜá«ÜÃÃÜ ÓÜ ’Ü ÊÜ®áÜ °
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PÝÊÜÂWÜÙÜá, ÎƳPÜÇæWÜÙÜá ÊÜáñÜᤠbñÜÅPÜÇæWÜÙÜá (A) ÃÝÊÜá ÊÜáñÜᤠÔàñÝ
Pæãàv…WÜÙÜá : (B) PÜêÐÜ¡ ÊÜáñÜᤠÃÝ«Ý
(A) i, ii ÊÜáñÜᤠiv ÓÜÄ¿ÞXÊæ
(B) i, iii ÊÜáñÜᤠiv ÓÜÄ¿ÞXÊæ (C) ÎÊÜ ÊÜáñÜᤠ±ÝÊÜì£
(C) ii, iii ÊÜáñÜᤠiv ÓÜÄ¿ÞXÊæ (D) ¨ÜáÐÜÂíñÜ ÊÜáñÜᤠÍÜPÜáíñÜÙÝ
(D) i, ii ÊÜáñÜᤠiii ÓÜÄ¿ÞXÊæ
5. PæÙX Ü ®Ü ®ÜêñÂÜ WÜÙÈ
Ü É ¿ÞÊÜâ¨Üá hÝÊÝ¨Ü ÃÝgÓÜ»Wæ ÙÜ È Ü É
2. PæÙÜX®Ü ÖæàÚPæWÜÙÜ®Üá° ±ÜÄWÜ~ÔÄ.
JíŸñÜᤠ®ÜêñÜÂWÝ£¿áÄí¨Ü ±ÜŨÜÎìÓÜƳvÜáñܤ¨æ ?
±ÜÅ£±Ý¨Ü®æ (A) : »ÝÃÜ£à¿á hݮܱܨÜ
®ÜêñÜ ÊÜáñÜᤠÃÜíWÜ»ÜãËá ±ÜÃÜÓܳÃÜ ¯PÜo (A) ¸æ«Ý¿á
ÓÜíŸí«ÜÊÜâÙÜÛÊÜâWÜÙÝXÊæ ÊÜáñÜᤠÖÜÆÊæäÊæá¾ (B) ÓæÄí²
ÓÜÊÜÞ®ÜPÜñæ¿á®Üá° ¸æíŸÈÓÜáñܤÊæ.
ñÜPÜì (R) : »ÝÃÜñܨÜÈÉ hÝ®Ü±Ü¨Ü ®ÜêñÜÂWÜÙÜá ÖÜŸº (C) ±æÌ
ÊÜ á ñÜ á ¤ Zo®æ (ÓÜ Ê Ü Þ ÃÜ í »Ü ) WÜ Ú Wæ (D) ÊÜ¿ÞíW…
ÓÜíŸí—Ô¨ÜÊÜâWÜÙÝXÊæ.
Pæãàv…WÜÙÜá :
6. ‘ÍÜêíWÝÃÜ ±ÜÅPÝÍÜ ’¨Ü ÃÜaÜ®ÜPÝÃÜ
(A) (A) ÊÜáñÜᤠ(R) GÃÜvÜã ÓÜñÜÂÊÝXÊæ, (R)
(A) ¿á®Üá° ËÊÜÄÓÜáñܤ¨æ (A) ÊÜáÖÝÃÝg »æãàg
(B) (A) ÊÜáñÜᤠ(R) GÃÜvÜã ÓÜñÜÂÊÝXÊæ, (R) (B) ÓæãàÊæáàÍÜÌÃÜ III
(A) ¿á®Üá° ËÊÜÄÓÜáÊÜâ©ÆÉ
(C) PæÙÜ© ÎÊܱܳ ®Ý¿áPÜ
(C) (A) ÊÜáñÜᤠ(R) GÃÜvÜã AÓÜñÜÂÊÝXÊæ
(D) (A) ÓÜñÜÂÊÝX¨æ (R) AÓÜñÜÂÊÝX¨æ (D) ÃÝÊÜáaÜí¨ÜÅ
Paper II 2 K-3920

Performing Arts
Paper – II

Note : This paper contains hundred (100) objective type questions. Each question carries
two (2) marks. All questions are compulsory.
1. Evolution and development of performing 3. Identify the odd one.
arts can be traced from the extant
(A) Manorama
i. Sculptures, paintings, inscriptions
and literature (B) Svati
ii. Paintings, inscriptions, foreign (C) Kalabha
travelers’ accounts and treatises (D) Sudati
iii. Inscriptions, cloth designs, cave
paintings and old coins 4. ‘Madhura Rasa’ is evidenced in which
iv. Foreign travellers’ accounts, epics, of the following duo ?
Sculptures and paintings
(A) Rama and Sita
Codes :
(B) Krishna and Radha
(A) i, ii and iv are correct
(C) Shiva and Parvati
(B) i, iii and iv are correct
(D) Dushyanta and Shakuntala
(C) ii, iii and iv are correct
(D) i, ii and iii are correct 5. Which among the following dances is
performed by nine dancers in the courts
2. Consider the following statements :
of Java ?
Assertion (A) : Indian folk dance and
theatre are closely related to each other (A) Bedhaya
and often support the same story. (B) Serimpi
Reasoning (R) : Folk dances in India (C) Pwe
are related to festivals and events.
(D) Wayang
Codes :
(A) Both (A) and (R) are true (R) 6. The composer of ‘Shringara Prakasha’ is
explains (A)
(A) Maharaja Bhoja
(B) Both (A) and (R) are true (R) does
not explain (A) (B) Someshvara III
(C) Both (A) and (R) are false (C) Keladi Shivappa Nayaka
(D) (A) is true (R) is false (D) Ramachandra
K-3920 3 Paper II

7. PæÙX
Ü ®Ü ¿ÞÊÜâ¨Üá/¿ÞÊÜÊâÜ WÜÙáÜ hݮܱ¨
Ü Ü ®ÜêñÂÜ ¨ÜÈÉ 9. ±Üqr – I ®Üá° ±Üqr – II Ãæãí©Wæ Öæãí©ÔÄ.
EvÜáWæñæãvÜáWæWæ AñÜÂíñÜ ÓÜãPܤ PÝÃÜ|ÊÝX¨æ/ ±Üqr – I ±Üqr – II
ÊÝXÊæ ?
1. PÜÃÜ®Ü a. ÓÜÌÔ¤P…
i. ÓÜíÓÜ¢£¿á®Üá° ±ÜÅ£´ÜÈÓÜáñܤÊæ 2. ÃæbñÜ b. ñÝÙÜËÇÝÔñÜí
ii. aæ®Ý°X PÝ|áñܤ¨æ 3. ÃÜÓÜ c. XÅàÊÜ
iii. ÊæçÎÐÜr$±Üä|ìÊÝX¨æ 4. ±Ü¨Ü d. ÖÝÓÜÂ
iv. ÖÝ¿ÞX¨æ
Pæãàv…WÜÙÜá :

Pæãàv…WÜÙÜá : 1 2 3 4
(A) b c d a
(A) i ÊÜáñÜᤠii
(B) b c a d
(B) i ÊÜáñÜᤠiii
(C) b d c a
(C) iii ÊÜáñÜᤠiv (D) a d b c
(D) ii ÊÜáñÜᤠiii
10. ÃÝÊÜÞ¿á|¨Ü ¥Ýç AÊÜñÜÃÜ~Pæ H®æí¨Üá
PÜÃæ¿áƳvÜáñܤ¨æ ?
8. PæÙÜX®Ü ÖæàÚPæWÜÙÜ®Üá° ±ÜÄWÜ~ÔÄ.
(A) ÃÝÊÜÞ¿á|
±ÜÅ£±Ý¨Ü®æ (A) : ÓÜíÊÜPÝÃÜÊÜâ BÃÜá ÃÜÓÜWÜÙÜ®Üá° (B) ÃÝÊÜáPÜ¥Ý
±ÜŨÜÎìÓÜáÊÜ ®ÝÆáR AíPÜWÜÚÊæ. (C) ÃÝÊÜáQÁá®…
ñÜPì
Ü (R) : ÓÜíÊÜPÝÃÜÊâÜ ¨æàÊÜñWæ ÙÜ áÜ ÊÜáñÜᤠAÓÜáÃÜÃÜ (D) ÃÝÊÜá®Üorí
ËàÃÜPÜêñÜÂWÜÙÜ ŸWæY EÇæÉàUÓÜáñܤ¨æ.
11. PÝÚ¨ÝÓÜ®Ü PæÙÜX®Ü ®ÝoPÜWÜÙÜÈÉ ®ÜêñܨÜ
Pæãàv…WÜÙÜá : EÇæÉàSWÜÚÊæ.
(A) (A) ÊÜáñÜᤠ(R) GÃÜvÜã ÓÜñÜÂÊÝXÊæ, (R) (A) ËPÜÅÊæãàÊÜìÎà¿á, A¼hÝn®Ü ÍÝPÜáíñÜÇÝ
(A) ¿á®Üá° ËÊÜÄÓÜáñܤ¨æ ÊÜáñÜᤠÖÜÐÜìaÜÄñÜ
(B) EñܤÃÜ ÃÝÊÜáaÜÄñÜ, A¼hÝn®Ü ÍÝPÜáíñÜÇÝ
(B) (A) ÊÜáñÜᤠ(R) GÃÜvÜã ÓÜñÜÂÊÝXÊæ, (R)
ÊÜáñÜᤠPݨÜíŸÄ
(A) ¿á®Üá° ËÊÜÄÓÜáÊÜâ©ÆÉ
(C) ®èPÝaÜÄñÜ, ÖÜÐÜìaÜÄñÜ ÊÜáñÜᤠÊæáàZ¨ÜãñÜ
(C) (A) ÓÜñÜÂÊÝX¨æ (R) AÓÜñÜÂÊÝX¨æ
(D) ËPÜÅÊæãàÊÜìÎà¿á, A¼hÝn®Ü ÍÝPÜáíñÜÇÝ
(D) (A) AÓÜñÜÂÊÝX¨æ (R) ÓÜñÜÂÊÝX¨æ ÊÜáñÜᤠÊæáàZ¨ÜãñÜ
Paper II 4 K-3920

7. Which of the following is/are the most 9. Match List – I with List – II :
apt reason for costume in folk dance ? List – I List – II

i. Reflects culture 1. Karana a. Swastik
2. Rechita b. Talavilasitam
ii. Looks nice
3. Rasa c. Griva
iii. Distinctive
4. Pada d. Hasya
iv. Comfortable
Codes :
Codes : 1 2 3 4
(A) i and ii (A) b c d a

(B) i and iii (B) b c a d
(C) b d c a
(C) iii and iv
(D) a d b c
(D) ii and iii
10. What is the Thai version of Ramayana
called ?
8. Consider the following statements :
(A) Ramayana
Assertion (A) : The samvakāra has four (B) Ramakatha
Ankas displaying six rasas. (C) Ramakien
Reasoning (R) : The samvakāra deals (D) Ramanattam
with the exploits of devās and asurās.
11. Following plays of Kalidasa have
Codes : references to dancing
(A) Vikramorvasheeya, Abhijnana
(A) Both (A) and (R) are true (R)
Shakuntala and Harsha Charita
explains (A)
(B) Uttara Rama Charita, Abhijnana
(B) Both (A) and (R) are true (R) does Shakuntala and Kadambari
not explain (A) (C) Nauka Charita, Harsha Charita and
Meghadoota
(C) (A) is true (R) is false
(D) Vikramorvasheeya, Abhijnana
(D) (A) is false (R) is true Shakuntala and Meghadoota

K-3920 5 Paper II

12. Pæ Ù Ü X ®Ü Ê Ü â WÜ Ù Ü ® Ü á ° ±Ü Î c Ê Ü á »ÝÃÜ ñ Ü © í¨Ü ±Ü ä ÊÜ ì 15. PæÙÜX®ÜÊÜâWÜÙÜÈÉ ¿ÞÊÜâ¨Üá ¥Ýç ®ÜêñÜÂÃÜã±Ü
»ÝÃÜñÜ¨Ü PÜÅÊÜá¨ÜÈÉ Óݧ¯àPÜÄÔÄ. ‘ÃÜŸÊÜå…’®Üá° ËÊÜÄÓÜáñܤ¨æ ?
(A) ¸ÝÖÜá aÜÆ®æWÜÙÜá
i. PÜÊÜáì
(B) Pæç aÜÆ®æWÜÙÜá
ii. ÃÜkáÞÊÜáÄ
(C) ±Ý¨Ü PèÍÜÆ
iii. ÇÝË¡ (D) ÓÜÊÜáãÖÜ ®ÜêñÜÂ
iv. PÝÇ…¸æàÈ¿á
16. PæÙÜX®ÜÊÜÃÜÈÉ ¿ÞÃÜá ¨æàÊÜñæWÜÙÜ®Üá°
Pæãàv…WÜÙÜá : ÊÜáñÜᤠMáÑWÜÙÜ®Üá° ÓæÙæ¿áÆá ÊÜáñÜá¤
(A) i, ii, iii, iv ÓÜíÊæãàÖÜ®ÜWæãÚÓÜáÊÜÈÉ ¯ÐÝ¡ñÜÃÝX¨ÜªÃÜá ?
(A) WÜí«ÜÊÜìÃÜá
(B) ii, iii, i, iv
(B) A±ÜÕÃæ¿áÃÜá
(C) iii, i, ii, iv (C) WæãಿáÃÜá
(D) iv, iii, i, ii (D) Q®Ü°ÃÜÃÜá

13. ®ÝoÂÍÝÓÜ÷¨Ü ÓÝ£ÌPÜ »ÝÊÜ©í¨Ü A¯¿áñÜÊÝ¨Ü 17. PæÙÜX®Ü ÓÜíXàñæãà±ÜPÜÃÜ|WÜÙÜ®Üá° ÃÝgÂWÜÙæãí©Wæ
Jí¨Ü®Üá° ÖæQRÄ. Öæãí©ÔÄ.
(A) ÓæÌà¨Ü ±Üqr – I ±Üqr – II
(B) ÃæãàÊÜÞíaÜ i. AÇ…WæãàÃÜká a. ÊÜá~±ÜâÃÜ

(C) ¯Êæàì¨Ü ii. ÊÜá¨ÜªÙÜ b. ±Üíhݸ…

(D) Êæà±Ü¥Üá iii. ±æà| c. PÝξàÃÜ
iv. ÓÜãÃ…Oæç d. PæàÃÜÙÜ
14. “»ÜWÊ
Ü íÜ ñÜ Gí¨ÜÃæ Óèí¨Ü¿áì ÊÜáñÜᤠÓèí¨Ü¿áì¨Ü
Pæãàv…WÜÙÜá :
ŸWæY ®ÜÊÜá¾ PÜƳ®æWÜÙÜá ¨æçËPÜ ÆPÜÒ|WÜÙÜá” D ÖæàÚPæ
¿ÞÃܨÜ᪠? i ii iii iv

(A) XÃÜkáp… (A) a b c d

(B) hæãàÇ…´ÝÅ¿å… (B) b d a c

(C) pæãà±…´ÜÃ… (C) c a d b
(D) d c b a
(D) ²P…pæp…
Paper II 6 K-3920

12. Place the following in regional order 15. Which among the following describes
from Western India to Eastern India. the Thai dance term ‘Rabam’ ?

i. Karma (A) Arm movements
(B) Hand movements
ii. Jhumari
(C) Foot work
iii. Lavni
(D) Group dance
iv. Kalbelia

Codes : 16. Who among the following are adopt in
dancing and in enticing and bewitching
(A) i, ii, iii, iv gods and rishis ?
(B) ii, iii, i, iv (A) Gandharvas
(C) iii, i, ii, iv (B) Apsaras

(D) iv, iii, i, ii (C) Gopis
(D) Kinnaras
13. Pick the odd one out from satvika bhava
of Natyashastra. 17. Match the following instruments with
the states :
(A) Sweda
List – I List – II
(B) Romancha
i. Algoza a. Manipur
(C) Nirveda
ii. Maddala b. Punjab
(D) Vepathu
iii. Pena c. Kashmir

14. “God is beauty and that our ideas of iv. Surnai d. Kerala
beauty are attributes of the divine”. –
Codes :
Who said the above statement ?
i ii iii iv
(A) Guizot
(A) a b c d
(B) Joulfroy
(B) b d a c
(C) Topffer
(C) c a d b
(D) Pictet (D) d c b a
K-3920 7 Paper II

18. PæÙÜX®ÜÊÜâWÜÙÜ®Üá° Öæãí©ÔÄ. 20. ¥Ýç ®Ü ê ñÜ Â ÃÜ ã ±Ü P Ü W Ü Ù Ü È É ® Ü ¥Ýç ÍÜ Ÿ ª ± Ü Å ÁãàWÜ
±ÜäÊÜìÃÜíWÜ Ë—¿á A¥Üì (±Üqr – I) WÜÙÜ®Üá° AÊÜâWÜÙÜ A¥ÜìWÜÙæãí©Wæ
Öæãí©ÔÄ.
±Üqr – I ±Üqr – II
±Üqr – I ±Üqr – II
a. ±ÜÄZor®Ü 1. ÓÜíXàñæãà±ÜPÜÃÜ|WÜÙÜ®Üá°
1. ´ÝÅ a. ®ÝÀáPæ¿áÃÜá
ÊÜÂÊÜÓæ§WæãÚÓÜáÊÜâ¨Üá
2. ®ÜíW… b. ®Ý¿áPÜÃÜá
b. ±ÜÅñÝÂÖÝÃÜ 2. E±ÜPÜÃÜ|WÜÙÜ®Üá°
ÓÜÊÜá®ÜÌ¿áWæãÚÓÜáÊÜâ¨Üá 3. ÔËá¿á®… c. ÊÜÞñæ »ÜíXWÜÙÜá
4. ÊæáàÀá ¥Ý d. QĨÜá ÊÜáñÜá¤
c. ÓÜíNãào®Ü 3. ñÜí£ ÊݨÜÂWÜÙÜ®Üá°
ÇÝWܱÜoá
ÍÜáÅ£WæãÚÓÜáÊÜâ¨Üá
Pæãàv…WÜÙÜá :
d. ÊÜPÜ÷±Ý~ 4. ÍæçÈ¿á ÓÜãaÜ®æ 1 2 3 4
(A) a b c d
Pæãàv…WÜÙÜá :
(B) c d a b
a b c d
(C) d c b a
(A) 2 4 1 3 (D) b a d c
(B) 3 4 2 1
21. PÜáÃÜáPæÒàñÜŨÜÈÉ ¼àÐܾ®Ü ±ÜñÜ®ÜPæR Aí£ÊÜáÊÝX
(C) 4 1 3 2
¿ÞÃÜá ÖæãOæWÝÃÜÃÝX¨ÜªÃÜá ?
(D) 3 1 2 4 (A) ÓæçÃÜí—Å
(B) ÎSíw
19. “Ÿ¿áPæ¿áá ñæãÃæ¿áƳpÝrWÜ ÊÜáñÜᤠ(C) Agáì®Ü
KÊÜì®Ü AÖÜí ËÍÝÅíñÜ Ô§£¿áÈɨݪWÜ ®ÝÊÜâ (D) PÜáí£
ÍÝÍÜÌñÜñæ¿á®Üá° , Óèí¨Ü¿áìÊÜ®Üá° ÊÜáñÜá¤
±ÜıÜä|ìñæ¿á®Üá° ñÜÆá±Üâñæ¤àÊæ ”Gí¨Üá 22. WÜávÜxWÝvÜá ŸávÜPÜoár g®ÝíWÜ¨Ü ®ÜêñܨÜÈÉ AñÜÂíñÜ
ÖæàÚ¨ÜÊÜÃÜá ¿ÞÃÜá ? ÓÝÊÜޮܠÓÜÌÃÜã±Ü ¿ÞÊÜâ¨Üá ?
(A) Íݱ殅ÖÝÃ… (A) £ÅPæãà|WÜÙÜá

(B) XÃÜkáp… (B) PÜáÚñÜáPæã ÊÜáñÜᤠiX
(C) ÖÝÊÜâ ÖÜÄ¿ááÊÜ ®ÜÊÜáã®æ
(C) hæãàÇ…´æäÅà¿å…
(D) ®æàÃÜ ÃæàTæWÜÙÜá
(D) PÝÊæár
Paper II 8 K-3920

18. Match the following : 20. Match the Thai-terms (List – I) in Thai
Meaning of Purvaranga vidhi dance dramas with their meanings :

List – I List – II List – I List – II

a. Parighattana 1. Arranging the 1. Phra a. Heroines
musical 2. Nang b. Heroes
instruments
3. Simian c. Mother
b. Pratyahara 2. Harmonising Postures
the instruments 4. Mae Tha d. Short and
c. Sanghōtana 3. Tuning of the acrobat
string Codes :
instruments 1 2 3 4

d. Vaktrapani 4. Indication of the (A) a b c d
style (B) c d a b
(C) d c b a
Codes :
(D) b a d c
a b c d
21. Who is ultimately responsible for fall of
(A) 2 4 1 3
Bhishma in the Kurukshetra ?
(B) 3 4 2 1
(A) Sairandhri
(C) 4 1 3 2
(B) Shikhandi
(D) 3 1 2 4
(C) Arjuna

19. Who said “ It is when desire ceases and (D) Kunti
our ego is at rest, that we reach eternity
22. Which is one of the most common
and beauty and perfection” ?
pattern in hilli tribal dance ?
(A) Schopenhauer
(A) Triangles
(B) Guizot
(B) Sit and jump
(C) Joulfroy
(C) Serpentine
(D) Comte (D) Straight lines

K-3920 9 Paper II

23. ±ÜÅ£±Ý¨Ü®æ (A) : ÓÝÊÜޮݼ®Ü¿áÊÜâ ÊÝP…, 26. PæÙÜX®Ü¨Ü®Üá° ±ÜÄWÜ~ÔÄ :
AíWÜ ÊÜáñÜᤠÓÜñÜÌg©í¨Ü E¨Ü½ËÓÜáñܤ¨æ. S(1) : ÎÇݱܩPÝÃÜÊåÜ … PÜñ¿
æ áá Aí©®Ü »ÝÃÜñ¨
Ü Ü
ñÜ P Ü ì (R) : Jí¨Ü á ®ÝoPÜ ¨ Ü ËPÜ Ó Ü ® Ü ÊÜ á ñÜ á ¤ ÓÝÊÜÞiPÜ, ÓÝíÓÜ¢£PÜ, «ÝËáìPÜ ÊÜáñÜᤠÃÝgQà¿á
¸æÙÜÊÜ~Wæ¿á ±ÜÄOÝÊÜáÊÝX ÓÝ«Ü®æWæãívÜ ÃÜÓÜ, ¨ÜêÑrPæãà®Ü¨Ü ÓÜËÊÜÃÜ bñÜÅ|ÊÜ®Üá° ¯àvÜáñܤ¨æ.
ÓÜí±Üä|ìÊÝX ÓÜñÜÌÊÜ®Üá° B«ÜÄÓÜáñܤ¨æ. S(2) : ÎÅàÊÜáíñÜ ¨Üí±Ü£WÜÙÜ PÜñæ¿á ÊÜáãÆPÜ
Pæãàv…WÜÙÜá : ÎÇݱܩPÝÃÜÊåÜ … ®ÜÊáÜ ¾ ÓíÜ ÓÜ¢£¿á «ÜÊáÜ ì¯Ãܱàæ PÜÒ
ÊÜá®æãà»ÝÊÜÊÜ®Üá° ÓÝÃÜáñܤ¨æ.
(A) (A) – ñܱÜâ³ (R) – ÓÜÄ
Pæãàv…WÜÙÜá :
(B) (A) – ÓÜÄ (R) – ñܱÜâ³
(A) S(1) ÓÜñÜ S(2) ÓÜñÜÂ
(C) (A) – ÓÜÄ (R) – ÓÜÄ
(B) S(1) ÓÜñÜ S(2) AÓÜñÜÂ
(D) (A) – ñܱÜâ³ (R) – ñܱÜâ³
(C) S(1) AÓÜñÜ S(2) ÓÜñÜÂ

24. “Óèí¨Ü¿áìÊÜâ AÊÜ|ì¯à¿á, C¨Üá (D) S(1) AÓÜñÜ S(2) AÓÜñÜÂ
ÓÜáÚ¨ÝvÜᣤÃÜáñܤ¨æ, ñæàÆáñܤ¨æ ÊÜáñÜᤠ¿ÞÊÜâ¨ÜÃÜ 27. PæÙÜX®ÜÊÜâWÜÙÜÈÉ ¿ÞÊÜâ¨Üá hÝ®Ü±Ü¨Ü ®ÜêñÜÂ
¸ÝÖÜÂÃæàTæ¿áá A¥ÜìËÊÜÃÜOæ¿á ×wñÜPæR ±ÜŨÜÍÜì®ÜPæR AñÜÂíñÜ ±ÜÅÊÜááSÊÝX¨æ ?
ÔWÜáÊÜâ©ÆÉÊæäà AíñÜÖÜ aÜÊÜáaÜÊÜáQÓÜáÊÜ (A) ÖÝÊæãì௿áí
®æÃÜÙÝX¨æ ” C¨Üá ¿ÞÃÜ ÖæàÚPæ ?
(B) væãàÆá (¿ÞÊÜâ¨æà ®ÜÊÜáã®æ¿á¨Ü᪠)
(A) ±æÉàpæãà
(C) ÔñÝÃ…
(B) AÄÓÝroÇ… (D) ÃÜkáíÃÜká
(C) ÖæWæÇ…
28. ®ÝoÂÍÝÓÜ÷¨Ü®ÜáÓÝÃÜ AÐÜr®ÝÀáPæ¿áÃÜ
(D) WÜ¿ápæ
PÜÅÊÜÞ®ÜáWÜ£¿á®Üá° WÜáÃÜá£ÔÄ.
(A) ÊÝÓÜPÜ ÓÜhÝj™ , ËÃÜÖæãàñÜRíqñÜ,
25. PæÙÜX®ÜÊÜâWÜÙÜÈÉ ¥Ýç ®ÜêñÜ ÍÜŸª ‘ÃÝí’®Üá°
ÓÝÌ—à®Ü ±Ü£PÝ, PÜÆÖÝíñÜÄñÜ
ËÊÜÄÓÜáñܤ¨æ ?
(B) ÊÝÓÜPÜ ÓÜhÝj™ , PÜÆÖÝíñÜÄñÜ, ËÃÜÖæãàñÜRíqñÜ,
(A) ±Ý¨ÜPèÍÜÆ (Öæhæj WæÆÓÜ) ÓÝÌ—à®Ü ±Ü£PÝ
(B) ¸æÃÜÙÜáWÜÙÜ aÜÆ®æ (C) ÓÝÌ—à®Ü ±Ü£PÝ, ÊÝÓÜPÜ ÓÜhÝj , PÜÆÖÝíñÜÄñÜ,
ËÃÜÖæãàñÜRíqñÜ
(C) ¸ÝÖÜá ÊÜáñÜᤠPæçWÜÙÜ aÜÆ®æ
(D) ËÃÜÖã æ àñÜRíqñÜ, ÓÝÌ—à®Ü ±Ü£PÝ, ÊÝÓÜPÜ ÓÜhÝj™ ,
(D) PÜ~¡®Ü aÜÆ®æ PÜÆÖÝíñÜÄñÜ
Paper II 10 K-3920

23. Assertion (A) : Samanyabhinaya arises 26. Consider the following statements :
out of Vāk, Anga and Satvaja. S(1) : Shilapadikaram the story gives a
Reasoning (R) : The evolution and detailed description of the socio, cultural,
religious and political perspective of
development of the play resulting in the
then India.
achievement of Rasa is entirely based on
S(2) : Through the story of the rich
Satva.
couple, the Shilapadikaram professes
Codes : the secular spirit of our culture.

(A) (A) – False (R) – True Codes :

(B) (A) – True (R) – False (A) S(1) True S(2) True
(B) S(1) True S(2) False
(C) (A) – True (R) – True
(C) S(1) False S(2) True
(D) (A) – False (R) – False
(D) S(1) False S(2) False
24. Who said “Beauty is inexplicable, it
27. Which of the following is the most
is hovering, floating and glittering important for a folk dance performance ?
shadow, whose outline eludes the grasp
(A) Harmonium
of definition” ?
(B) Drum (of any kind)
(A) Plato
(C) Sitar
(B) Aristotle (D) Zanza
(C) Hegel
28. Identify the Ashtanāyikas sequence
(D) Gothe according to Natya shastra.
(A) Vasaka sajja, Virahotkantita
25. Which among the following describes
Swadeena patika, Kalahantarita
the Thai dance term ‘ram’ ?
(B) Vasaka sajja, Kalahantarita,
(A) Foot works Virahotkantita, Swadeena patika
(B) Finger movements (C) Swadeena patika, Vasaka sajja,
Kalahantarita, Virahotkantita
(C) Arm and hand movements
(D) Virahotkantita, Swadeena patika,
(D) Eye movements Vasaka sajja, Kalahantarita
K-3920 11 Paper II

29. “ ±Ü Ä ±Ü ä |ì Óèí¨Ü ¿ áìÊÜ â ÓÜ í Êæ à ¨Ü ® Ý£àñÜ 32. ±Üqr – I ®Üá° ±Üqr – II Ãæãí©Wæ Öæãí©ÔÄ.
ÊÜáñÜᤠB«Ý£¾PÜ ÓÝÃÜÊÝX, CÊÜâWÜÙÜá CÃÜáñݤ
±Üqr – I ±Üqr – II
»ÝÊæäàñÜRoñæWæ ñÜÙÛÜ Æ³pÝWÜ ÊÜá®ÜÓáÜ Õ ËÊæàbÓÜáÊÜíñæ,
WÜáÃÜá£ÓÜƳvÜáñܤ¨æ ” C¨Üá ¿ÞÃÜ ÖæàÚPæ ? 1. dÜ£¤àÓ…WÜyÜ a. gñ…&g£®…
(A) AÄÓÝroÇ… 2. ¹ÖÝÃ… b. ÊÜáívÜÊÝw
(B) ±æÉàpæãà 3. WÜágÃÝñ… c. WÜÄ¿á
(C) ¸Ý®æìp… ®ÜãÂÊÜá®…
4. £Å±ÜâÃÜ d. Ãèñ… ®ÝaÜ
(D) væàËv… ÖÜãÂÊÜå…
Pæãàv…WÜÙÜá :
30. EñܤÃÜ©í¨Ü ¨ÜQÒ|PæR »è£PÜ
1 2 3 4
ÊÜáãÆPÜR®ÜáWÜá|ÊÝX ¨ÜQÒ|©í¨Ü BWæ°à¿á
ÃÜíWÜ»ÜãËáWÜÙÜ®Üá° PÜÅÊÜÞ®ÜáWÜ£¿áÈÉ (A) d a b c
PÜívÜá×wÀáÄ. (B) d c b a
i. ÇÝPæãà®…TæãàÇ…
(C) c d a b
ii. ñÜáÁãàíW…
(D) b c a d
iii. ÇÝPæãà®… ÇÝÂÊÜå…
iv. ÃÜkágá 33. ‘gáWÜá±ÝÕ’ C¨ÜÃÜ »ÝWÜÊÝX¨æ.
Pæãàv…WÜÙÜá : (A) ÓÝ£ÌPÜ »ÝÊÜ
(A) iii, iv, i, ii (B) ÓݧÀáà »ÝÊÜ
(B) ii, i, iv, iii (C) ÃÜÓÜ»ÝÊÜ
(C) iv, ii, iii, i (D) ÊܼaÝÄà »ÝÊÜ
(D) i, iii, ii, iv
34. “±ÜQÒWÜÚWæ ±ÜQÒÍÝÓÜ÷ ÖæàWæãà ÖÝWæ PÜÇÝ˨ܯWæ
31. PæÙÜX®Ü ±ÝñÜÅWÜÙÜÈÉ ¿ÞÊÜâ¨Üá ÃÝÊÜÞ¿á|PæR PÜÇÝ ËáàÊÜÞíÓæ BXÃÜáñܨ
¤ æ ” C¨Üá ¿ÞÃÜ ÖæàÚPæ ?
ÓæàĨݪXÃÜáÊÜâ©ÆÉ ?
(A) ÖæWæÇ…
(A) ÓÜí±Ü£
(B) CÊÜÞ®ÜáÂGÇ… PÝÂíp…
(B) ÓÜáXÅàÊÜ
(C) ËÃÝo (C) væàËv… ÖÜãÂÊÜå…

(D) »ÜÃÜñÜ (D) ¸Ý®æìp… ®ÜãÂÊÜá®…

Paper II 12 K-3920

29. Who said “Absolute Beauty is recognised 32. Match List – I with List – II :
as a supersensuous and spiritual essence
List – I List – II
which is discerned by mind when thrown
into ectacy in its presence” ? 1. Chhatisgarh a. Jat-Jatin

(A) Aristotle 2. Bihar b. Mandavadi
(B) Plato 3. Gujarat c. Garia
(C) Bernett Newman 4. Tripura d. Raut Nacha
(D) David Hume
Codes :
30. Find the correct sequence of South and
1 2 3 4
South east theatre forms according to
the geographical origin from North to (A) d a b c
South. (B) d c b a
i. Lakhon Khol
(C) c d a b
ii. Tuong
(D) b c a d
iii. Lakon Lam
iv. Zaju 33. Jugupsa forms the part of

Codes : (A) Sātvika bhava

(A) iii, iv, i, ii (B) Stayi bhava
(B) ii, i, iv, iii (C) Rasa bhava
(C) iv, ii, iii, i (D) Vyabhichari bhava
(D) i, iii, ii, iv
34. Who said “Aesthetics is for the artist as
31. Which of the following character does ornithology is for the birds” ?
not belong to Ramayana ?
(A) Hegel
(A) Sampati
(B) Immanuel Kant
(B) Sugriva
(C) David Hume
(C) Virata
(D) Bernett Newman
(D) Bharata
K-3920 13 Paper II

35. ÖÜÆÊÜâ ¸ÝÄ ÊÜáÃÜá ÊÝÂTÝ®ÜWæãÙÜWÝWÜáÊÜ ÊÜáñÜᤠ39. PæÙÜX®Ü hÝ®Ü±Ü¨Ü ÊÜáñÜᤠWÜávÜxWÝvÜá g®ÜÃÜ ®ÜêñÜÂ
±ÜŨÜÍÜì®ÜËà¿áƳvÜáÊÜ ÃÝÊÜÞ¿á| ÊÜáñÜá¤
ÊÜáÖÝ»ÝÃÜñÜ¨Ü Ô÷à ±ÝñÜÅWÜÙÜá ¿ÞÊÜâÊÜâ ? ÃÜã±ÜWÙÜ ®Ü áÜ ° ¨ÜQÒ|©í¨Ü EñܤÃÜ »ÝÃÜñPÜ Ræ ÓÜÄ¿Þ¨Ü
(A) ÔàñÝ&FËáìÙÝ&ÊÜáívæãà¨ÜÄ PÜÅÊÜÞ®ÜáWÜ£¿áÈÉ CwÄ.
(B) WÝí«ÝÄ&PÜáí£
(C) ¨èűܩ&ÔàñÝ&WÝí«ÝÄ (A) PæãÇÝÉorí, væãÙÜáÛPÜá~ñÜ, ´ÜâXx™, q±Ý³~
(D) EñܤÃÝ&ÓÜáËáñÝÅ
(B) væãÙÜáÛPÜá~ñÜ, ´ÜâXx™, PæãÇÝÉorí™, q±Ý³~
36. ¿áá®æÓæãRà©í¨Ü hÝ®Ü±Ü¨Ü Gí¨Üá DWÜ ¿ÞÊÜâ¨Üá
ÖæÓÜÄÓÜƳqr¨æ ÊÜáñÜᤠÊÜá®Ü°Oæ ±Üvæ©ÃÜáñܤ¨æ ? (C) q±Ý³~, ´ÜâXx™, PæãÇÝÉorí™, væãÙÜáÛPÜá~ñÜ
(A) ÓÜíÓÜ¢£ ÊÜáñÜᤠ±ÜÃÜí±ÜÃæ
(D) q±Ý³~, ´ÜâXx™, væãÙÜáÛPÜá~ñÜ, PæãÇÝÉorí
(B) ÓܳÍÜì¯à¿á ÓÝíÓÜ¢£PÜ ±ÜÃÜí±ÜÃæ
(C) AÓܳÍÜì¯à¿á ÓÝíÓÜ¢£PÜ ±ÜÃÜí±ÜÃæ
(D) ÓÝí±ÜŨÝÀáPÜ ÓÝíÓÜ¢£PÜ ±ÜÃÜí±ÜÃæ 40. PæÙÜX®Ü¨Ü®Üá° Öæãí©ÔÄ.

37. A¯¿áñÜÊÝ¨Ü Jí¨Ü®Üá° ÖæQRÄ. ±Üqr – I ±Üqr – II
(A) BÊÜí£
a. ±ÜâÓܤ 1. «ÜËáì
(B) ¨ÝQÒOÝñÜÂ
(C) ±ÝíaÝÈ ÊÜá«ÜÂÊÜá b. ®Ýo 2. ÊݨÜÂ
(D) ÓÜñÜÌ£
c. J¨ÜÅÊÜÞWÜw 3. BÖÝ¿áì
38. ±ÜÅ£±Ý¨Ü®æ (A) : ±æÉàpæãà®Ü®ÜáÓÝÃÜ “»ÜãËá¿á
Êæáà騆 aæí¨Ü¨Ü ÊÜÓÜá¤WÜÙÜ ŸWæY ®ÜÊÜá¾ JÆÊÜâ Jí¨Üá d. AÊܮݨܪ®… 4. ±ÜÅÊÜ꣤
±ÜäÊÜìÊÜ£ì ÊÜáñÜᤠ±ÜÄŸ¨Üœ ¨æàÖÜÔ§£¿áÈÉ
®ÝÊÜâ ÓÝ—ÓÜáÊÜ ÊÜáñÜᤠB®Üí©ÓÜáÊÜ ±ÜıÜä|ì Pæãàv…WÜÙÜá :
Óèí¨Ü ¿ áìPÝRX ®Ü Ê Ü á ¾ ÖÜ á vÜ á PÝo¨Ü
PÝÃÜ|©í¨ÝX¨æ .” a b c d
ñÜ P Ü ì (R) : GÇÝÉ ¨ÜêÍÜ ÊÜÓÜá¤WÜÙÜã ÍÝÍÜÌñÜ
ÊÜáãÆÃÜã±ÜWÜÙÜ®Üá° PܮܰwÓÜáÊÜ (±ÜÅ£¹í¹ÓÜáÊÜ) (A) 2 3 1 4
®ÜÊÜáã®æWÜÙÝXÊæ.
(B) 3 1 4 2
Pæãàv…WÜÙÜá :
(A) (A) ÊÜáñÜᤠ(R) ÓÜñÜÂÊÝX¨æ (C) 3 2 1 4
(B) (A) ÊÜáñÜᤠ(R) AÓÜñÜÂÊÝX¨æ
(C) (A) ÓÜñÜÂÊÝX¨æ ÊÜáñÜᤠ(R) AÓÜñÜÂÊÝX¨æ (D) 4 1 3 2
(D) (A) AÓÜñÜÂÊÝX¨æ ÊÜáñÜᤠ(R) ÓÜñÜÂÊÝX¨æ
Paper II 14 K-3920

35. Which are the common female characters 39. Put in the correct sequence from South
often re-interpreted and performed from
Ramayana and Mahabharata ? to North of India the folk and tribal
(A) Sita-Urmila-Mandodari dance forms.
(B) Gandhari-Kunti (A) Kollattam, Dollu Kunitha, Fugdi,
(C) Draupadi-Sita-Gandhari Tippani
(D) Uttara-Sumitra
(B) Dollu Kunitha, Fugdi, Kollattam,
36. What is now called termed and recognised Tippani
by UNESCO as the folklore ?
(C) Tippani, Fugdi, Kollattam, Dollu
(A) Culture and Heritage
Kunitha
(B) Tangible Cultural Heritage
(C) Intangible Cultural Heritage (D) Tippani, Fugdi, Dollu Kunitha,
(D) Traditional Cultural Heritage Kollattam

37. Pick the odd one out.
(A) Avanti 40. Match the following :

(B) Dākshinatya List – I List – II
(C) Panchali Madhyama a. Pusta 1. Dharmi
(D) Satvati
b. Natya 2. Vadya
38. Assertion (A) : According to Plato “our
love of beautiful things on earth is due c. Odramagadi 3. Aharya
to the search by our soul for absolute
d. Avanaddan 4. Pravrutti
beauty realised and enjoyed by us in an
anterior and pure state of being”.
Codes :
Reasoning (R) : All visible things are
types in which are mirrored the beauty a b c d
of eternal archytypes.
Codes : (A) 2 3 1 4
(A) (A) and (R) are true (B) 3 1 4 2
(B) (A) and (R) are false
(C) 3 2 1 4
(C) (A) is true and (R) is false
(D) (A) is false and (R) is true (D) 4 1 3 2

K-3920 15 Paper II

41. PæÙÜX®Ü¨Ü®Üá° Öæãí©ÔÄ : 44. AíQ¿á ®Ýp… ÃÜíWÜ»ÜãËá ±ÜÅPÝÃÜ¨Ü ŸWæY PæÙÜX®Ü
±Üqr – I ±Üqr – II ÖæàÚPæWÜÙÜÈÉ ¿ÞÊÜâ¨Üá ÓÜÄ¿ÞX¨æ ?
i. C¨Üá ÎÅàÊÜáíñÜ ÍÜíPÜÃÜ ¨æàÊܮܨæªí¨Üá
i. PÜêÐÜ¡ ÊÝÂÓ… dÝíWÜÄ a. ±ÜívÜ̯
ÖæàÙÜÇÝX¨æ
ii. WÜáÇݸ… ¸Ýç b. »ÝÊæç
ii. ÓÜí¨Ü»ÜìÊÜâ »ÜQ¤ B¿ÞÊÜáWÜÙÜ ÊæáàÇæ
iii. £àg®… ¸Ýç c. PÜãw¿ÞorÊÜå… B«ÜÄñÜÊݨܨÜáª
iv. ÊÜá~ ÊÜÞ«ÜÊ… d. ®èoíQ iii. D ®ÝoPÜ¨Ü ±ÜÅÓÜᤣ¿áÈÉ ®ÜêñÜ嬆 AíÍÜWÜÚÆÉ
aÜQ¿áÃ… iv. ‘®Ýí©’¿áá Ô÷à ÊÜááS ±ÝñÜÅ«ÝÄ
Pæãàv…WÜÙÜá : (®Ý¿áQ)Àáí¨Ü ¯ÊÜì×ÓÜƳvÜáñܤ¨æ
i ii iii iv Pæãàv…WÜÙÜá :

(A) a b c d (A) ii ÊÜáñÜᤠiii

(B) b d a c (B) i ÊÜáñÜᤠiv

(C) c a d b (C) ii ÊÜáñÜᤠiv

(D) d c b a (D) i ÊÜáñÜᤠii

45. PæÙÜX®Ü¨Ü®Üá° Öæãí©ÔÄ.
42. ÓÜíŸí—ñÜ ÃÜÓܨæãí©Wæ ÓÝíWÜñÜ Öæãí©ÃÜáÊÜ
±Üqr – I ±Üqr – II
PæÙÜX®Ü Ÿ|¡WÜÙÜ®Üá° ÓÜÄ¿Þ¨Ü PÜÅÊÜÞ®ÜáWÜ£¿áÈÉ
¯àwÄ. i. »ÝíWÝÅ a. ®ÜÊÜÃÝ£Å

(A) ÃÜPܤ™, ÔàñÜ, PܱæäàñÜÜ, ÍÝÂÊÜá ii. WݸÝì b. K|í
(B) ÍÝÂÊÜá, ÔàñÜ, PܱæäàñÜ, ÃÜPܤ iii. ÃÜã´… c. ¸æçÍÝU
(C) ÔàñÜ, ÃÜPܤ™, ÍÝÂÊÜá, PܱæäàñÜ iv. PæçPæãqrPÜÚ d. ÊÜÓÜíñÜ
(D) PܱæäàñÜ, ÍÝÂÊÜá, ÔàñÜ, ÃÜPܤ Pæãàv…WÜÙÜá :
i ii iii iv
43. ÇÝç ÖÜÃÜÊæäàŸ ¿ÞÊÜ ±ÜíWÜvÜ¨Ü ÖÜŸºÊÝX¨æ ?
(A) a b c d
(A) ÊæáàÀáq
(B) b d c a
(B) aÜPܾ
(C) c a d b
(C) ¸æãàÃæã
(D) aÝíW… (D) d c b a
Paper II 16 K-3920

41. Match the following : 44. Which of the following statements is true
about the theatre form Ankia-nat ?
List – I List – II
i. It is attributed to Srimanta Shankara
i. Krishna Vyas a. Pandvani
Deva
Chhangari
ii. The context is based on devotional
ii. Gulab Bai b. Bhavai
aspects
iii. Teejan Bai c. Koodiyattam
iii. The drama has no dance element in
iv. Mani Madhav d. Nautanki presentation
Chakiar
iv. The ‘nandi’ is performed by the
female protagonist
Codes :
Codes :
i ii iii iv
(A) ii and iii
(A) a b c d
(B) i and iv
(B) b d a c
(C) ii and iv
(C) c a d b
(D) i and ii
(D) d c b a
45. Match the following :
42. Give the correct sequence of the
following colours in association with List – I List – II
respective rasa. i. Bhangra a. Navaratri
(A) Rakta, Sita, Kapota, Shyama ii. Garba b. Onam
(B) Shyama, Sita, Kapota, Rakta iii. Rouf c. Baisakhi
(C) Sita, Rakta, Shyama, Kapota iv. Kaikottikali d. Spring
(D) Kapota, Shyama, Sita, Rakta
Codes :
43. Lai Haraoba is a festival of which tribe ? i ii iii iv
(A) Meiti (A) a b c d
(B) Chakma (B) b d c a
(C) Boro (C) c a d b

(D) Chang (D) d c b a
K-3920 17 Paper II

46. PæÙÜX®Ü¨Ü®Üá° Öæãí©ÔÄ. 48. PæÙÜX®Ü ±ÜsÜÂWÜÙÜÈÉ ®ÜêñÜ ÊÜáãÆÊÜâ Jí¨Üá ¨æçËà
±Üqr – I ±Üqr – II aÜoáÊÜqPæ Gí¨Üá EÇæÉàUÓÜƳqr¨æ
i. ÓÜíñÜÇ… a. ñÜËáÙÜá®ÝvÜá (A) ®ÝpæãÂàñܳ£¤
ii. ¨Ýíw¿á b. ÃÝgÓݧ®Ü (B) ®ÝoÂPÜÅÊÜá
iii. PæãàÆorí c. ŸíWÝÙÜ
(C) ®Ýo ±ÜÅÍÜíÓÝ
iv. bËáì d. WÜágÃÝñ…
(D) ®Üo®Ý ±ÜÅÁãàWÜ
Pæãàv…WÜÙÜá :
i ii iii iv 49. “vÝ®…Õ C®… pÝÅ®…ÕÔÍÜ®…:¨Ü ±ÜÁã¯àÃ…Õ”¨Ü
(A) a b c d ÇæàSPÜ ¿ÞÃÜá ?
(B) b c d a (A) ÔÔR¿á PÜÓæì®…ŸãÊÜå…
(C) c d a b
(B) vÜWÝÉÓ… ®æçp…
(D) d a b c
(C) ÊæãàÖÜ®… TæãàPÜÃ…

47. PæÙÜX®Ü ±Üqr – I ®Üá° ±Üqr – II Ãæãí©Wæ (D) ÊÜá®…ÊæãàÖÜ®… NãàÐ…
Öæãí©Ô.
50. ‘ÖÜê¨Ü¿á ¨Ü±Üì|’¨Ü ÇæàSPÜ
±Üqr – I ±Üqr – II
a. A£ »ÝÐÝ i. ±ÝÅ~WÜÙÜ »ÝÐæ (A) »Üor ®ÝÃÝ¿á|

b. B¿áì »ÝÐÝ ii. g®ÜÓÝÊÜÞ®ÜÂÃÜ (B) »Üor ÇæãÆÉo
»ÝÐæ (C) »ÜÊÜ»Üã£
c. hÝ£ »ÝÐÝ iii. ÃÝgÃÜáWÜÙÜ »ÝÐæ
(D) »Üor ®Ý¿áPÜ
d. Áã௿áíñÜÄ iv. A£ ÊÜÞ®ÜÊÜÃÜ »ÝÐæ
»ÝÐÝ 51. Óܣſá Óݧ±Ü®æ¿á ÓÜÊÜá¿ÞÊÜ— ¿ÞÊÜ
Pæãàv…WÜÙÜá : ÍÜñÜÊÜޮܨÜÈÉ Gí¨Üá ¯WÜ©ñÜÊÝX¨æ ?
a b c d (A) 15®æà¿á ÍÜñÜÊÜÞ®Ü
(A) ii iv i iii
(B) 17®æà¿á ÍÜñÜÊÜÞ®Ü
(B) iv iii ii i
(C) 14®æà¿á ÍÜñÜÊÜÞ®Ü
(C) iii i iv ii
(D) ii i iv iii (D) 18®æà¿á ÍÜñÜÊÜÞ®Ü
Paper II 18 K-3920

46. Match the following : 48. The origin of dance as a divine activity
List – I List – II is mentioned in texts as
i. Santhal a. Tamil Nadu (A) Nātyōtpatti
ii. Dandiya b. Rajasthan
(B) Nātyakrama
iii. Kolattam c. Bengal
(C) Nātya prasamsha
iv. Chirmi d. Gujarat
(D) Natana prayoga
Codes :
i ii iii iv
49. Who is the author of “Dance in Transition :
(A) a b c d
The Pioneers” ?
(B) b c d a
(A) Siskia Kersenboom
(C) c d a b
(D) d a b c (B) Douglas Knight

(C) Mohan Khokar
47. Match the following with List – I and
List – II. (D) Manmohan Ghosh
List – I List – II
a. Ati Bhasha i. Language of 50. ‘Hrdaya darpana’ written by
the animals
(A) Bhatta Narayana
b. Arya Bhasha ii. Language
of the common (B) Bhatta Lollata
people
(C) Bhava Bhooti
c. Jaati Bhasha iii. Language of
the kings (D) Bhatta Nayaka
d. Yonyantari iv. Language of the
Bhasha Super humans
51. The time period of establishment of
Codes : Sattriya is set in which century ?
a b c d (A) 15th
(A) ii iv i iii
(B) 17th
(B) iv iii ii i
(C) 14th
(C) iii i iv ii
(D) ii i iv iii (D) 18th
K-3920 19 Paper II

52. PæÙÜX®ÜÊÜÃÜÈÉ ¿ÞÃÜá PÜãaÜá±Üâw ÓÜí±ÜŨݿá¨Ü 55. PæÙÜX®Ü¨Ü®Üá° ±ÜÄWÜ~ÔÄ.
®ÜêñÂÜ ®ÝoPÜ ‘»ÝÊÜÞ PÜÇݱÜí’¨Ü PÜñêÜ ì BX¨ÝªÃæ ? ±ÜÅ£±Ý¨Ü®æ (A) : Êæãàׯ¿áorí ÊÜáñÜᤠPÜ¥ÜPÜRÚ
(A) ñÝÂWÜÃÝg GÃÜvÜã PæàÃÜÙÜ¨Ü ÍÝÔŒà¿á ÃÜã±ÜWÜÙÝXÊæ.
(B) ÃÝÊÜá¿á ÍÝÔ÷
(C) Ô«æÂàí¨ÜÅ ÁãàX
ñÜ P Ü ì (R) : DWÜ ÍÝÔŒà¿á ®Ü ê ñÜ Â ÃÜ ã ±Ü Ê ÝX
(D) ÊÜááñÜá¤ÓÝÌËá ©àQÒñÜÃ… ±ÜŨÜÎìÓÜƳvÜᣤÃÜáÊÜ PÜ¥ÜPÜRÚ¿áá Jí¨Üá ±ÝÅbà®Ü
ÃÜíWÜÊÜáío±Ü¨Ü ÃÜã±ÜÊÝXñÜá¤
53. »ÝÃÜñÜ ÓÜÃÜPÝÃÜ©í¨Ü PÜÇÝ˨ܯWæ ¯àvÜƳvÜáÊÜ
AñÜá®ܰñÜ ®ÝWÜÄPÜ ±ÜÅÍÜÔ¤ ¿ÞÊÜâ¨Üá ? Pæãàv…WÜÙÜá :
(A) ±Ü¨Ü¾Ë»ÜãÐÜ|
(A) (A) ÊÜáñÜᤠ(R) GÃÜvÜã ÓÜñÜÂÊÝX¨æ,
(B) ±Ü¨Ü¾ÎÅà
(R) (A) ¿á ÓÜÄ¿Þ¨Ü ËÊÜÃÜOæ
(C) ±Ü¨Ü¾»ÜãÐÜ|
BXÃÜáÊÜâ©ÆÉ
(D) »ÝÃÜñÜ ÃÜñÜ°
(B) (A) ÊÜáñÜᤠ(R) GÃÜvÜã ÓÜÄ¿ÞX¨æ, (R)
54. ±Üqr – I®Üá° ±Üqr – IIÃæãí©Wæ Öæãí©ÔÄ.
(A) ¿á®Üá° ËÊÜÄÓÜáñܤ¨æ
±Üqr – I ±Üqr – II
(C) (A) ÓÜñÜÂÊÝX¨æ B¨ÜÃæ (R) AÓÜÜñÜÂÊÝX¨æ
1. Íæãà»Ý ©à±ÜP… a. PÜÃÜ|
ÔíW… (D) (A) AÓÜÜñÜÂÊÝX¨æ B¨ÜÃæ (R) ÓÜÜñÜÂÊÝX¨æ
2. ÍÝíñÝ b. PÜÇÝ BvÜÚñÜWÝÃÜ
Óܸ…ìiàñ… ÔíW…
56. PæÙÜX®Ü ÖæàÚPæWÜÙÜ®Üá° ±ÜÄàQÒÔÄ :
3. AÍæãàP… c. PÜÇÝÃÝ«ÜPÜ
ÊÝg±æàÀá a. ÓÜíTÝ A¼®ÜÊÜWÜá±Ü¤®Ü ÊÜáãÃÜ®æ¿á ¨ÜêÑr

4. ±Ü¨Ý¾ ÓÜáŸÅÖܾ|Âí d. PÜË&bíñÜPÜ b. AÊÜÃÜá ÓݧÀá ÊÜáñÜᤠÃÜÓÜ¨Ü ®ÜvÜáÊæ »æà¨Ü
PÜȳÓÜáÊÜâ©ÆÉ
Pæãàv…WÜÙÜá :
1 2 3 4 (A) a – ÓÜÄ b – ñܱÜâ³
(A) b c d a (B) a – ñܱÜâ³ b – ÓÜÄ
(B) b d a c
(C) GÃÜvÜã ÓÜÄ
(C) b a c d
(D) d a c b (D) GÃÜvÜã ñܱÜâ³
Paper II 20 K-3920

52. The popular dance drama of Kuchipudi 55. Consider the following statements :
tradition Bama Kalapam is authored by Assertion (A) : Mohiniyattam and
which of the following ?
Kathakali are both classical forms of
(A) Thyagaraja
Kerala.
(B) Ramaiah Shastry
(C) Sidhyendra Yogi Reasoning (R) : Kathakali is an ancient
(D) Muthuswami Dikshitar theatrical form now performed as a
classical dance form.
53. Which is the highest Civilian Award
given by the Govt. of India to the artist ? Codes :
(A) Padmavibhushan (A) (A) and (R) are both true, (R) is not
(B) Padmashree the explanation for (A)
(C) Padmabhushan
(B) (A) and (R) are both true, (R)
(D) Bharat-Ratna
explains (A)

54. Match List – I with List – II : (C) (A) is true but (R) is false
List – I List – II (D) (A) is false but (R) is true
1. Shobha a. Karana
Deepak Singh
2. Shanta b. Arts 56. Examine the following statement :
Serbjeet Singh Administrator
a. The Sankhya is the third view of
3. Ashok Vajpeyi c. Aesthete
Abhinavagupta
4. Padma d. Poet-thinker
Subrahmanyam b. They do not distinguish between
stayi and rasa.
Codes :
1 2 3 4 (A) a – true b – false
(A) b c d a (B) a – false b – true
(B) b d a c
(C) both are true
(C) b a c d
(D) d a c b (D) both are false

K-3920 21 Paper II

57. PæÙÜX®ÜÊÜÃÜ®Üá° PÝÇÝ®ÜáPÜÅÊÜá¨ÜÈÉ CÄÔÄ : 59. PæÙÜX®Ü ÖæàÚPæWÜÙÜ®Üá° ±ÜÄWÜ~ÔÄ.
i. ¸ÝÆÓÜÃÜÓÜÌ£ ÖæàÚPæ S(1) : vÝ®…Õ&G®…&±ÝÀáíp…Wæ
Cí©®Ü ¸ÝÂÇæ ®ÜñÜìQ¿áá ÊÜÓÜá¤WÜÙÜ ±Ü¨ÜÃÜWÜÙÜ
ii. ÊæáçÇݱÜäÃ… WèÄ AÊÜÞ¾Ù…
®ÜvÜáÊæ Aíoá¨ÜÅÊÜ ±Ü¨ÜÃÜWÜÚí¨Ü ¹X±ÜqrWæãívÜ
iii. Ëáà®ÝQÒ ÓÜáí¨ÜÃÜí ²ÙæÛ$ç PÝÇæºÃÜÙÜáWÜÙæãí©Wæ ÍÜãWÜÙÜ®Üá° «ÜÄÓÜáñݤÙæ.
iv. ÃÜáQ¾~à¨æàË AÃÜáívÝÙ… ÖæàÚPæ S(2) : ñÜ©ÌÃÜá¨ÜœÊÝX ÖÜÙæPÝÆ¨Ü ¸ÝÂÇæ
®ÜñÜìQ¿áÃÜá ®æÆ¨Ü ÊæáàÇæ C®Ü°ÐÜár EñܤÊÜá ×wñÜ
Pæãàv…WÜÙÜá : ÓÝ«ÜÂÊÝWÜáÊÜíñæ JÙÜWÜvæ Êæá¨ÜáÊÜÓÜá¤ÊÜ®Üá° ÊÜáñÜá¤
(A) i, ii, iv, iii ÖæãÃÜWÜvæ ÓÜÌƳ vݯìíW… ÖæãXst ÔɱܳÅWÜÙÜ®Üá°
(B) iii, iv, i, ii «ÜÄÓÜᣤ¨ÜªÃÜá.

(C) iii, ii, iv, i Pæãàv…WÜÙÜá :

(D) ii, iii, i, iv (A) S(1) ÊÜáñÜᤠS(2) GÃÜvÜã ÓÜñÜÂ
(B) S(1) ÊÜáñÜᤠS(2) GÃÜvÜã AÓÜñÜÂ
58. ±Üqr – I ®Üá° ±Üqr – II Ãæãí©Wæ Öæãí©ÔÄ.
(C) S(1) ÓÜñÜ ÊÜáñÜᤠS(2) AÓÜñÜÂ
±Üqr – I ±Üqr – II (D) S(1) AÓÜñÜ ÊÜáñÜᤠS(2) ÓÜñÜÂ
1. AorPÜÆÄ a. ÍÝÔ÷à¿á ®ÜêñÜÂPæR
PæãvÜáWæWÝX 60. »Ü o r ® Ý¿áPÜ , KÊÜ ì ÓÝ×ñÜ Â PÜ ËÊÜ á ÍÜ ì PÜ , D
2. ÍÝíñÜÇÝ b. Êæçg¿áí£ PÝÎ ÍÜñÜÊÜޮܨÜÈÉ A¼ÊÜ—ìst (ÊæáÃæ¨Ü)
AÊÝv…ì (A) 12 ®æà¿á ÍÜñÜÊÜÞ®Ü

3. ÍÝí»ÜË ®ÜêñÜ c. JwÔÕ (B) 10 ®æà¿á ÍÜñÜÊÜÞ®Ü
ÍÝÇæ (C) 16 ®æà¿á ÍÜñÜÊÜÞ®Ü

4. ®ÜêñÜÂWÝÅÊÜå… d. ÓÜÊÜáPÝÈà®Ü ®ÜêñÜ (D) 14 ®æà¿á ÍÜñÜÊÜÞ®Ü

Pæãàv…WÜÙÜá : 61. ÊÜÆÉñæãÙæ ®ÝÃÝ¿á| Êæá®Ü®… ÊÜáñÜᤠÊÜÞÂvÜí
1 2 3 4 Êæáà®ÜPÝ ¿ÞÊÜ ®ÜêñÜÂÃÜã±ÜWÜÙæãí©Wæ ®Üíoá
Öæãí©¨ÜªÃÜá ?
(A) d a b c
(A) PÜ¥ÜP… ÊÜáñÜᤠJwÔÕ
(B) d a c b (B) PÜãb±Üâw ÊÜáñÜᤠ»ÜÃÜñÜ®ÝoÂí
(C) a c b d (C) PÜ¥ÜPÜRÚ ÊÜáñÜᤠPÜ¥ÜP…
(D) d b a c (D) Êæãàׯ¿áorí ÊÜáñÜᤠ»ÜÃÜñÜ®ÝoÂí
Paper II 22 K-3920

57. Place the following in chronological 59. Consider the following statements :
order. Statement S(1) : To dance en-pointe,
i. Balasaraswati today’s ballerina wears shoes with toes
ii. Mylapore Gowri Ammal reinforced by layers of glue between
layers of material.
iii. Meenakshi Sundaram Pillai
Statement S(2) : Early Romantic
iv. Rukmini Devi Arundale ballerinas, by contrast, wore slippers
Codes : with wadding inserted inside and a little
(A) i, ii, iv, iii darning outside to permit a better grip on
the floor.
(B) iii, iv, i, ii
Codes :
(C) iii, ii, iv, i
(A) Both S(1) and S(2) are true
(D) ii, iii, i, iv
(B) Both S(1) and S(2) are false
58. Match List – I with List – II :
(C) S(1) is true and S(2) is false
List – I List – II
(D) S(1) is false and S(2) is true
1. Attakalari a. For
contribution 60. A Literary critic Bhattanayaka
in classical
flourished in
dance
2. Shantala b. Vaijayanti (A) 12th century
Award Kashi (B) 10th century
3. Shambhavi c. Odissi (C) 16th century
school of
dance (D) 14th century
4. Nrityagram d. Contemporary
61. Vallathole Narayana Menon and
dance
Codes : Madame Menaka are associated with
which dance forms ?
1 2 3 4
(A) Kathak and Odissi
(A) d a b c
(B) d a c b (B) Kuchipudi and Bharatanatyam

(C) a c b d (C) Kathakali and Kathak
(D) d b a c (D) Mohiniyattam and Bharatanatyam

K-3920 23 Paper II

62. Pæ Ù Ü X ®Ü Ê Ü â WÜ Ù Ü È É ¿ÞÊÜ â ¨Ü á Jí¨Ü á ±Ü Å ¨Ü Í Ü ì ®Ü 65. PæÙÜX®ÜÊÜâWÜÙÜ®Üá° Öæãí©ÔÄ.
PÜÇWæ ÙÜ È
Ü É ñÃÜ ¸
Ü àæ £ PæãvÜÊÞ
Ü vÜáÊÜ ËÍÜÌ˨ݯƿá
±Üqr – I ±Üqr – II
BXÃÜáÊÜâ©ÆÉ ?
(A) REVA ËÍÜÌ˨ݯƿá i. aܱݳÙæ a. Xí£

(B) KSGH ÓÜíXàñÜ ÊÜáñÜᤠ±ÜŨÜÍÜì®Ü PÜÇæWÜÙÜá ii. Pæç¹àÓÜá b. A®Üá¨ÜáÅñÜÊÜå…
ËÍÜÌ˨ݯƿá iii. WÜ~ÓÜá c. ÓÜí
(C) hæç®… ËÍÜÌ˨ݯƿá iv. ±ÝÅÃÜí»Ü d. TÝÈ
(D) IIT
Pæãàv…WÜÙÜá :
63. PæÙÜX®Ü ÖæàÚPæWÜÙÜ®Üá° ±ÜÄWÜ~ÔÄ. i ii iii iv
ÖæàÚPæ S(1) : ÍÝÍÜÌñÜ aÜÆ®æ¿á D ŸÅÖݾívܨÜÈÉ (A) a b c d
®ÝÊÜâ Jí¨Üá ±ÜÅ£QÅÁá¿á®Üá° ÊÜÞ£XÚÓÜáÊÜ
(B) b d a c
Êæã¨ÜÇæà ®ÜÊÜᾨæà ÍÜÄàÃÜWÜÙÜá ÓÝÌ»ÝËPÜÊÝX
ÊÜ á ñÜ á ¤ ÓÜ Ö Ü g ±Ü Å ÊÜ ê £¤ À áí¨Ü ±Ü Ä Ô§ £ WÜ Ú Wæ (C) c a d b
±ÜÅ£QÅÀáÓÜáñܤÊæ. (D) d c b a
ÖæàÚPæ S(2) : ÍÜÄàÃÜWÜÙÜá AÐæãrí¨Üá Ë«ÜWÜÙÜÈÉ
aÜÈÓÜᣤÃáÜ ÊÜâ¨ÜÄí¨Ü, ®ÜêñÂÜ ÃÜã±ÜWÙÜ áÜ ÓÜíÓÜ¢£Àáí¨Ü 66. ±Üqr – I ®Üá° ±Üqr – II Ãæãí©Wæ Öæãí©ÔÄ.
ÓÜíÓÜ¢£Wæ AWÝ«ÜÊÝX ¼®Ü°ñæ Öæãí©Êæ. ±Üqr – I ±Üqr – II
Pæãàv…WÜÙÜá : 1. ±Ü©¾¯ aæoãrÃ… a. K¯íW… ÍÝÂvæãàÓ…
(A) S(1) ÊÜáñÜᤠS(2) GÃÜvÜã ÓÜñÜ 2. AÓݤ¨… ¨æàŸã b. ÍÜÄàÃÜ
(B) S(1) ÊÜáñÜᤠS(2) GÃÜvÜã AÓÜñÜ 3. ÊÜá«Üá ®ÜoÃÝh… c. ¸æÅàQíW…
(C) S(1) ÓÜñÜ S(2) AÓÜñÜ ¸èívÜÄàÓ…
(D) S(1) AÓÜñÜ S(2) ÓÜñÜ 4. ÖÜÄPÜêÐÜ¡ d. ÊÜgÅ

64. “A¼®Ü¿á ¨Ü±Üì|”¨Ü®ÜáÓÝÃÜ PæÙÜX®ÜÊÜâWÜÙÜÈÉ Pæãàv…WÜÙÜá :
Jí¨Üá ®Üêñܤ ÖÜÓܤ AÆÉ . 1 2 3 4
(A) ±ÜoPÜ (A) b d c a
(B) ¨æãàÙÜ (B) b c d a
(C) PÜoPÝÊÜ«Üì®Ü (C) b c a d
(D) »ÜÅÊÜáÃÜ (D) d b a c

Paper II 24 K-3920

62. Which one of the following is not 65. Match the following.
a university offering training in List – I List – II
performing Arts ?
i. Clap a. Ginti
(A) REVA University
ii. Wave b. Anudrutam
(B) KSGH Music and Performing Arts
University iii. Count c. Sam

(C) Jain University iv. Beginning d. Khaali

(D) IIT Codes :

63. Consider the following statements. i ii iii iv
Statement S(1) : In this casmos of (A) a b c d
perpetual motion, our own bodies (B) b d a c
naturally and instinctively react to
(C) c a d b
situations through movements before
we verbalize a response. (D) d c b a
Statement S(2) : Because the body can
move in so many ways, dance forms 66. Match List – I with List – II.
have varied enormously from culture to
List – I List – II
culture.
1. Padmini a. Owning
Codes : Chettur Shadows
(A) Both S(1) and S(2) are true 2. Astad Deboo b. Sharira
(B) Both S(1) and S(2) are false 3. Madhu c. Breaking
(C) S(1) is true S(2) is false Nataraj Boundaries
(D) S(1) is false S(2) is true 4. Hari Krishna d. Vajra

64. One of the following is not a nritta hasta Codes :
according to Abhinaya darpana 1 2 3 4
(A) Pataka (A) b d c a
(B) Dola (B) b c d a
(C) Katakāvardhana (C) b c a d
(D) Bhramara (D) d b a c
K-3920 25 Paper II

67. g¿á¨æàÊÜ®Ü "XàñÜ WæãàËí¨Ü ' C¨ÜÃæãí©Wæ 70. PæÙÜX®Ü ÖæàÚPæWÜÙÜ®Üá° ±ÜÄWÜ~ÔÄ.
®Üíoá Öæãí©¨æ.
S(1) : PæàÊÜÆ PæÆÊæà ±ÜŨÜÍÜì®Ü PÜÇÝ˨ÜÄWæ
(A) gWܮݰ¥Ü ¨æàÊÝÆ¿á
ÊÜÞñÜÅ ÍæãÅàñÜêWÙÜ áÜ /±æÅàPÜÒPÃÜ ã
æ í©Wæ ÓÜíÊÜ×ÓÜáÊÜâ¨Üá
(B) ÓæãàÊÜá®Ý¥Ü ¨æàÊÝÆ¿á
¿áÍÜÔÕ®Ü Pæã®æ¿á ¯«ÝìÃÜPÜ ±ÜÄàPæÒ¿ÞX¨æ.
(C) ËÍÜÌ®Ý¥Ü ¨æàÊÝÆ¿á
S(2) : g®ÝíWÜ&hÝWÜ£PÜ PÜÇÝ˨ܮæãàÊÜì¯Wæ
(D) PÜêÐÜ¡ ¨æàÊÝÆ¿á
»ÝÊÜ®æ ÊÜáñÜᤠbíñÜ®æ GÃÜvÜã ±ÝËñÜÅ$ÂPæR B«ÝÃÜ
68. ÖæàÚPæWÜÙÜ®Üá° ±ÜÄÎàÈÔÄ. ÓÜÌÃÜã±Ü¨ÝªXÊæ.
a. »ÜorÇæãÆÉo®Üá ÓÜáÊÜÞÃÜá QÅ™. ÍÜ. 9®æ¿á Pæãàv…WÜÙÜá :
ÍÜñÜÊÜÞ®Ü¨Ü B©¿áÈÉ iàËԨܪ™.
(A) S(1) ÓÜñÜ S(2) ÓÜñÜÂ
b. BñÜ, A®Üá»ÜÊÜWÜÙÜá ÃÜÓÜ©í¨Ü
Eñܳ £¤WæãÙÜáÛÊÜâ©ÆÉ Gí¨Üá ÖæàÚ¨Ü. (B) S(1) AÓÜñÜ S(2) ÓÜñÜÂ
Pæãàv…WÜÙÜá : (C) S(1) AÓÜñÜ S(2) AÓÜñÜÂ
(A) a. AÓÜñÜ b. AÓÜñÜ (D) S(1) ÓÜñÜ S(2) AÓÜñÜÂ
(B) a. ÓÜñÜ b. AÓÜñÜÂ
71. ¸ÝÂÇæ/®ÜêñÜÂWÜÙÜ®Üá° (±Üqr – I) AÊÜâWÜÙÜ
(C) a. AÓÜñÜ b. ÓÜñÜÂ
®ÜÊÜáã®æWÜÙæãí©Wæ Öæãí©ÔÄ.
(D) a. ÓÜñÜ b. ÓÜñÜÂ
±Üqr – I ±Üqr – II
69. PæÙÜX®Ü ÖæàÚPæWÜÙÜ®Üá° ±ÜÄWÜ~ÔÄ.
1. ¨Ü væçÀáíW… a. ÃæãÊÜÞÂíqP…
ÖæàÚPæ (i) : "ñÝÙÜ’A¥ÜÊÝ Æ¿áŸ¨Üœñæ WÜ£¿áÈÉ ÓÝÌ®… ¸ÝÂÇæ
PÜ®ÝìoPÜ ÊÜáñÜᤠ×í¨ÜãÓݧ¯ ÓÜíXàñÜWÜÙÜá AWÝ«Ü
¼®Ü°ñæ Öæãí©Êæ. 2. ¨Ü ®ÜoPÝÅ$ÂPÜÃ… b. PÝÉÔP… ¸ÝÂÇæ

ÖæàÚPæ (ii) : PÜ®ÝìoPÜ ñÝÙܱܨܜ£¿áÈÉ 74 3. ÓÝÌ®… ÇæàP… c. HPÜÊÜÂQ¤ ®ÜêñÜÂ
ñÝÙÜíWÜÚÊæ.
4. XÓæÇ… d. QÅÓ…ÊÜáÓ… ¸ÝÂÇæ
Pæãàv…WÜÙÜá :
Pæãàv…WÜÙÜá :
i ii
1 2 3 4
(A) ÓÜñÜ ÓÜñÜÂ
(A) c d b a
(B) ÓÜñÜ AÓÜñÜ (B) a b d c
(C) AÓÜñÜ AÓÜñÜ (C) b a c d
(D) AÓÜñÜ ÓÜñÜ (D) d c a b
Paper II 26 K-3920

67. Geeta Govinda of Jayadeva is 70. Consider the following statements :
associated with
S (1) : Communicating with the audience
(A) Jagannatha temple is the final litmus test of success for only
(B) Somanatha temple a few of performing artists.
(C) Vishwanatha temple S(2) : For an ethno-global artist,
(D) Krishna temple both feeling and thought underlie the
sacred.
68. Verify the statement.
Codes :
a. Bhatta Lollata lived about the
(A) S(1) True S(2) True
beginning of the 9th century A.D.
b. He said Anubhavas are not born out (B) S(1) False S(2) True
of Rasa. (C) S(1) False S(2) False
Codes : (D) S(1) True S(2) False
(A) a. False b. False
(B) a. True b. False 71. Match the Ballets/Dances (List – I) with
(C) a. False b. True their types (List – II) :

(D) a. True b. True List – I List – II
1. The dying a. Romantic
69. Consider the following statements :
swan Ballet
Statement (i) : Carnatic and Hindustani
2. The Nutcracker b. Classic Ballet
music have vastly different manner of
‘Tala’ or rhythmic sequence. 3. Swan Lake c. A Solo Dance
Statement (ii) : The Carnatic tala system 4. Giselle d. Christmas
has 74 talams. Ballet
Codes : Codes :

i ii 1 2 3 4

(A) True True (A) c d b a
(B) a b d c
(B) True False
(C) b a c d
(C) False False
(D) d c a b
(D) False True

K-3920 27 Paper II

72. ‘XàñÜWæãàËí¨Ü’¨Ü Pæã®æ¿á ÓÜWÜì C¨ÝX¨æ. 75. ±Üqr – I ®Üá° ±Üqr – II Ãæãí©Wæ Öæãí©ÔÄ.

(A) ÓÝ®Üí¨Ü ¨ÝÊæãà¨ÜÃÜ ±Üqr – I ±Üqr – II
1. ÍÜáÅ£ a. ñæùÊÜÞÔPÜ
(B) ÓÝPÝíPÜÒ ±ÜâívÜÄàPÝPÜÒ
2. ®ÜñÜì®Üí b. ÊÜÞÔPÜ
(C) ÓÝÊæãà¨Ü ¨ÝÊæãà¨ÜÃÜ
3. ÓÜíWÝ®Ü c. ±ÜÅPÜÃÜ| WÜÅí¥Ü
(D) ÓÜá²ÅàñÜ ²àñÝíŸÃÜ 4. ¨ÜÍÜÃÜã±ÜPÜ d. GÓ…G®…G ±ÜÅPÜoOæ

Pæãàv…WÜÙÜá :
73. Pæ Ù Ü X ®Ü Ê Ü Ã Ü È É ¿ÞÃÜ á ÍÝí£¯Pæ à ñÜ ® Ü ¨ Ü È É 1 2 3 4

Ãܹàí¨ÜŮݥ… pÝWæãàÃ…ÃÜÊÜÃÜ ¯¨æìàÍÜ®Ü¨Ü (A) b c a d

¯ÊÜÞì|¨ÜÈÉ ®ÜêñÜ ÊÜÞw¨ÜÃÜá ? (B) b a d c

(A) ÊÜáêOÝȯ ÓÝÃݸÝç (C) b a c d

(D) d c a b
(B) ÃÜáQ¾~ ¨æàË

(C) E¨Ü¿áÍÜíPÜÃ… 76. ±ÜÅ£±Ý¨Ü®æ (A) : ¸æÙÜPÜá ÊÜÂÊÜÓ槿á (ÇæçqíW…)
BñÜÂí£PÜ WÜáÄ¿áá ¨ÜêÑWr ã
æ àaÜÃñÜ ¿æ á®Üá™° , ÊÝÓܤËPÜ
(D) ÃÝíWæãà±ÝÇ…
±ÜÄOÝÊÜá, ÓÜíÁãàg®Ý ±ÜÄOÝÊÜá, ÊÜá®ÜÔ§£
ÊÜáñÜᤠ±ÝÉÔrP… WÜá|ÊÜáorÊÜ®Üá° Óݧ²ÓÜáÊÜâ¨ÜPÜRÆÉ .
74. D PæÙÜX®ÜÊÜÃÜÈÉ ¿ÞÃÜá Pܯ°íZÊÜå… PÜí±Ü¯¿á ñÜ P Ü ì (R) : ±Ü Ä OÝÊÜ á ÊÜ ® Ü á ° ¿ÞÊÝWÜ Æ ã
ÓÜíXàñÜ ÓÜíÁãàgPÜÃÝX¨ÜªÃÜá ? ¿ÞÊÜâ¨æà PÜÇæ¿á ñÝí£ÅPÜñæXíñÜ ÖæaÜác ÊÜááSÂ
Gí¨Üá ±ÜÄWÜ~ÓܸæàPÜá.
(A) ÊÜáÓ…ì Pܯ°íZÊÜå…
Pæãàv…WÜÙÜá :
(B) GÈ¿áp… PݱÜr®… (A) (A) ÊÜáñÜᤠ(R) ÓÜñÜÂÊÝXÊæ

(C) ÓæçÊæãà®… ´æäàp…ì (B) (A) ÊÜáñÜᤠ(R) AÓÜñÜÂÊÝXÊæ

(C) (A) AÓÜñÜÂÊÝX¨æ ÊÜáñÜᤠ(R) ÓÜñÜÂÊÝX¨æ
(D) hÝ®… Pæàh…
(D) (A) ÓÜñÜÂÊÝX¨æ ÊÜáñÜᤠ(R) AÓÜñÜÂÊÝX¨æ

Paper II 28 K-3920

72. The last canto of Geeta Govinda 75. Match List – I with List – II :
List – I List – II
(A) Sānanda Dāmodara
1. Sruti a. Quarterly
(B) Sākāmksha Pundarikāksha
2. Nartanam b. Monthly
(C) Samoda Dāmodara 3. Sangana c. Treatise
4. Dasharupak d. SNA
(D) Supreeta Pitambarah
publication
Codes :
73. Who among the following personalities 1 2 3 4
danced in Santiniketan in productions (A) b c a d
directed by Rabindranath Tagore ? (B) b a d c
(C) b a c d
(A) Mrinalini Sarabhai
(D) d c a b
(B) Rukmini Devi

76. Assertion (A) : The ultimate aim of
(C) Udayshankar
lighting is not to establish visibility,
(D) Ramgopal realistic effect, compositional effect,
mood and plastic quality.

Reasoning (R) : The effect should
74. Who among these was the music
always be regarded as more important
composer of Cunningham company ? than technique of any art.

(A) Merce Cunningham Codes :
(A) (A) and (R) are true
(B) Elliot Captain
(B) (A) and (R) are false
(C) Simone Forte (C) (A) is false and (R) is true

(D) John Cage (D) (A) is true and (R) is false

K-3920 29 Paper II

77. ±Üqr – I ®Üá° ±Üqr – II Ãæãí©Wæ Öæãí©ÔÄ. 80. “wÓÝ¿áÃ… AívÜÃ… © GÇ…ÊÜå…Õ ” ®ÝoPÜ
±Üqr – I ±Üqr – II ŸÃæ¨ÜÊÜÃÜá ¿ÞÃÜá ?
a. gWÜYÈWæÊæáàÙÜ i. ÊæáçÓÜãÃÜá (A) B¥ÜìÃ… ËáÆÉÃ…
b. PÜíÓÝÙææ ®ÜêñÜ ii. EñܤÃÜ PÜ®ÝìoPÜ (B) QɶÜy…ì Kvæp…Õ
c. væãÙÜáÛ PÜá~ñÜ iii. ñÜáÊÜáPÜãÃÜá (C) ÍÝ®… (οޮ…) K PæàÔ
d. ÓæãàÊÜá®Ü PÜá~ñÜ iv. ÎÊÜÊæãWÜY
(D) ¿áãià®… K ¯àÇ…
Pæãàv…WÜÙÜá :
a b c d 81. ±Üqr – I ®Üá° ±Üqr – II Ãæãí©Wæ Öæãí©ÔÄ.
(A) ii i iv iii
±Üqr – I ±Üqr – II
(B) i ii iii iv
(C) iii iv i ii a. SNA i. qàPÜÊÜå… ÃækãàÎ
(D) iv iii ii i ±ÜÅÍÜÔ¤ 2018 –
®ÝoPÜ ÃÜaÜ®æ
78. ""PÜêñÜPÜ ÖÝÓÜÂ'' (BqìµÍÜÇ… PÝËáw) ÍÜŸª b. SNA ii. G. GÓ….
ÓÜêÑrÔ¨ÜÊÜÃÜá ¿ÞÃÜá ? ±ÜÅÍÜÔ¤ 2018 – ®Üígáívܱܳ
(A) ÊÜÞqì®… Ÿ®…ÖÝÂÊÜå… ®Üo®æ
(B) q. vÜŸãÉ$™. PæÅàP…
c. SNA iii. ±ÜÃÜÊæáàÍÜÌÃÜ®…
(C) ®ÝÊÜáì®… ÊÜÞÍÜìÇ… ±ÜÅÍÜÔ¤ 2018 – PÜáor®…
(D) aÝÇ…Õì ÇÝÂí¸… ¿áPÜÒWÝ®Ü aÜQR¿ÞÃ…

79. EñܤÃÜ©í¨Ü ¨ÜQÒ|PæR ¿ááÃæãà²®Ü ®ÝoPÜPÝÃÜÃÜ d. SNA iv. ÇÝpÝÉíXÉ¿Þ®Ü
ÓÜÄ¿Þ¨Ü PÜÅÊÜÞ®ÜáWÜ£¿á®Üá° PÜívÜá×wÀáÄ. ±ÜÅÍÜÔ¤ 2018 – Pæç®…Wæ¤
PÜãq¿Þorí
i. Çæãà±… væà ÊæàWÜ
ii. ÍÝ®…(οޮ…) K PæàÔ Pæãàv…WÜÙÜá :
iii. ÊæãàÈ¿ÞÃ…
a b c d
iv. QÅÓæãrà¶ÜÃ… ÊÜÞÇæãì
(A) i ii iii iv
Pæãàv…WÜÙÜá :
(A) i ii iv iii (B) iv i ii iii
(B) iii i ii iv
(C) iii ii i iv
(C) ii iv iii i
(D) iv iii i ii (D) ii iii iv i

Paper II 30 K-3920

77. Match the following List – I with List – II : 80. Who wrote the play “Desire under the
List – I List – II elms” ?
a. Jaggaligemela i. Mysore (A) Arther Miller
b. Kamsale Dance ii. North (B) Clifford Odets
Karnataka
c. Dollu Kunitha iii. Tumakur (C) Sean O Casey
d. Somana iv. Shivamoga (D) Eugene O’ Neill
Kunitha

Codes : 81. Match the List – I with List – II :
a b c d List – I List – II
(A) ii i iv iii
a. SNA i. Teekam Zoshi
(B) i ii iii iv Award 2018 –
(C) iii iv i ii Playwrighting
(D) iv iii ii i
b. SNA ii. A. S. Nanjundappa
78. Who coined the word “Artificial Award 2018 –
comedy” ? Acting
(A) Martin Banham c. SNA iii. Parameshwaran
(B) T. W. Craik Award 2018 – Kuttan
(C) Norman Marshall Yakshagana Chakkiyar
(D) Charles Lamb d. SNA iv. Laltlangliana
Award 2018 – Khaingte
79. Find the correct sequence of dramatists
of Europe from North to South. Kutiyattam
i. Lope de Vega
Codes :
ii. Sean O Casey
iii. Moliere a b c d
iv. Christopher Marlowe (A) i ii iii iv
Codes :
(B) iv i ii iii
(A) i ii iv iii
(B) iii i ii iv (C) iii ii i iv
(C) ii iv iii i (D) ii iii iv i
(D) iv iii i ii
K-3920 31 Paper II

82. ‘Óݳé¯Í… ¨Üá@TÝíñÜ’¨æãí©Wæ ¿ÞÃÜ ®Üíoá 85. ±ÜÅ£±Ý¨Ü®æ (A) : i. G®…. ¨ÝÓ… WÜá±Ý¤ CÊÜÃÜ
C¨æ ? ±Ü Å PÝÃÜ ‘ Jí¨Ü á ŸÖÜ Ù Ü ÖÜ Ù æ ¿ á¨Ý¨Ü B¨Ü à æ
E±Ü¿ááPܤ ÓÜãñÜÅ A¥ÜÊÝ PæÉàÊÜå… Aí¨ÜÃæ ¸æÙÜPÜá
(A) ¿áãIJwàÓ… ÖÝÓÜÂPæR ±ÜÅPÝÍÜÊÜÞ®ÜÊÝX ÊÜáñÜᤠ¨ÜáÃÜíñÜPæR
AÊÝÓܤËPÜÜ ÊÜáñÜᤠÊÜáí¨Ü BXÃܸæàPÜá’.
(B) AÄÓæãóà¶æÅà®…Õ ñÜPÜì (R) : ®ÝÊÜ â ±Ü Å PÝÍÜ Ê Ü Þ ®Ü ¸æ Ù Ü P Ü ® Ü á °
(C) ¥æãàÊæãàÓ… Qv… ®æãàw¨ÝWÜ EÆÉÔñÜÃÝWÜáñæ¤àÊæ, ÊÜáê¨Üá ¸æÙQÜ ®ÜÈÉ
±ÜÅÍÝíñÜñæ¿á®Üá° A®Üá»ÜËÓÜáñæ¤àÊæ, ÊæãàvÜ
(D) Êæá®ÝívÜÃ… PÜ謆 BPÝÍܨÜw U®Ü°ÃÝWÜáñæ¤àÊæ ÊÜáñÜᤠPÜñܤÆÈÉ
AÓÜÖÝ¿áPÜ ÊÜáñÜᤠ¼àñÜÃÝWÜáñæ¤àÊæ.
ÓÜíPæàñÜWÜÙÜá :
83. EñܤÃÜ©í¨Ü ¨ÜQÒ|PæR ¿ááÃæãà²®Ü ®ÝoPÜPÝÃÜÃÜ (A) (A) ÊÜáñÜᤠ(R) AÓÜñÜÂÊÝX¨ææ
ÓÜÄ¿Þ¨Ü PÜÅÊÜÞ®ÜáWÜ£¿á®Üá° PÜívÜá×wÀáÄ. (B) (A) AÓÜñÜÂÊÝX¨æ ÊÜáñÜᤠ(R) ÓÜñÜÂÊÝX¨æ
i. ¶æÅvÜÄPæã WÝÎì¿á ÇæãàÄ¿á (C) (A) ÓÜñÜÂÊÝX¨æ ÊÜáñÜá¤(R) AÓÜñÜÂÊÝX¨æ
(D) (A) ÊÜáñÜᤠ(R) ÓÜñÜÂÊÝX¨æ
ii. hÝh…ì Ÿ®Ýìv… ÍÝ
86. “®ÝoÂÊÜå… ¼®Ü° ÃÜábÃ… g®ÜÓÜÂ
iii. ÊæäÇærà¿áÃ… ŸÖÜá¨Ý±ÜÂPÜÊÜå… ÓÜÊÜÞÃÝ«Ü®Üí” D ÍæãÉàPÜÊÜâ
PÝÚ¨ÝÓܯí¨Ü D ®ÝoPܨÜÈÉ ŸÙÜÓÜƳqr¨æ.
iv. ¸æ®… hÝ®ÜÕ®…
(A) ËPÜÅÊæãàÊÜìÎà¿á
Pæãàv…WÜÙÜá : (B) ÊæáàZ¨ÜãñÜ
(C) A¼hÝn®Ü ÍÝPÜáíñÜÇÝ
(A) i ii iv iii
(D) ÊÜÞÙÜËPÝX°ËáñÜÅ
(B) iii i ii iv
87. PÝ¿áìñÝ|¨Ü »èWæãàÚPÜ ÊÜáãƨܮÜáÓÝÃÜ
(C) ii iv iii i ¨ÜQÒ|©í¨Ü EñܤÃÜPæR ¿ááÃæãಮÜ
®ÝoPÜPÝÃÜÃÜ ÓÜÄ¿Þ¨Ü A®ÜáPÜÅÊÜá~Pæ¿á®Üá°
(D) iv iii i ii PÜívÜá×wÀáÄ.
i. BWÜÓ…r Ôóív…ŸW…ì
ii. PÝÇæãàì WæãàÇæãx¯
84. ÃÜíWÜÓܧÙÜ¨Ü ÊÜááí©ÃÜáÊÜ aÝbPæ ×àWæ®Üá°ñݤÃæ
iii. Æáv…ËW… ÖæãàÇ…ŸW…ì
(A) AvÜx±Üqr (H±ÜÅ®…) iv. hÝh…ì ŸáaÜ°Ã…

(B) ÓÜíXàñÜ WÜáíw Pæãàv…WÜÙÜá :
(A) i ii iv iii
(C) Êæà©Pæ¿á ÊæáàÇݽWÜ (B) ii iv iii i
(D) Êæà©Pæ¿á PæÙÜ»ÝWÜ (C) iii i ii iv
(D) iv iii i ii
Paper II 32 K-3920

82. Who is associated ‘Spanish Tragedy’ ? 85. Assertion (A) : According to G. N. Das
Gupta ‘A very old but useful formula
(A) Euripides or claims that light should be bright for
comedy and farce and dim for tragedy.
(B) Aristrophranes Reasoning (R) : We are cheerful when
we see bright light, feel tranquility in
(C) Thomos Kyd soft light, depressed under overcast sky
and helpless and fearful in darkness.
(D) Menander Codes :
(A) (A) and (R) are false
83. Find the correct sequence of Dramatists (B) (A) is false and (R) is true
of Europe from North to South. (C) (A) is true and (R) is false
i. Federico Garcia Lorea (D) (A) and (R) are true

ii. George Bernad Shaw 86. “Natyam bhinna rucher Janasya
Bahudapyakam Samaradhanam” this
verse has been used by Kalidasa in this
iii. Voltaire
play.
iv. Ben Jonson (A) Vikramorvasheeya
(B) Meghadhoota
Codes :
(C) Abhijnana Shakuntala
(A) i ii iv iii (D) Malavikaagni Mitra

(B) iii i ii iv 87. Find out the correct sequence of
dramatists of Europe from South to
(C) ii iv iii i North according to their geographical
origin of work place :
(D) iv iii i ii i. August Strindberg
ii. Carlo Goldoni
84. There is some stretch in front of the iii. Ludivig Holberg
proscenium that is called iv. Georg Buchner
(A) Apron Codes :
(A) i ii iv iii
(B) Music pit
(B) ii iv iii i
(C) Up stage (C) iii i ii iv
(D) iv iii i ii
(D) Down stage

K-3920 33 Paper II

88. “±æÉà ÊæáàQíW… : G ÊÜÞ®ÜáÂAÇ… B¶… 91. ""Cí±æäÅ&Cí±ÜäÅÊçæ Óàæ ÍÜ®… BÂív… © ¦ÁáàoÃ…''
PÝŶ…r ÊÜᮅα… ” ±ÜâÓܤPÜÊÜ®Üá° ŸÃæ¨ÜÊÜÃÜá ŸÃæ¨ÜÊÜÃÜá ¿ÞÃÜá ?
(A) ËÆÉ®… BaÜìÃ… (A) GvÜÌv…ì
(B) ŸpæãìÇ…r ¸æÅP…c
(B) Qàñ… hÝ®…Óæãrà®…
(C) hÝ®… WÝÓ…®ÜÃ…
(D) ÊÜÞqì®… GÓ…È®… (C) ²àoÃ… ŸãÅP…
(D) ²àoÃ… ÓæÉàv…
89. ±ÜÅ£±Ý¨Ü®æ (A) : ÓÝr¯ÓÝÉÊ…ÔR ñÜ®°Ü ±Ü¨œÜ £¿á®Üá°
KÊÜì ®Üo®ÝX, ¯¨æàìÍÜPÜ®ÝX ÊÜáñÜᤠ92. PæÙX
Ü ®Ü ÃÜíWÜ»ã
Ü Ëá PÜí±Ü¯WÜÙÜ Eñܤé
Ü í¨Ü ¨ÜQÒ|¨Ü
A«Ý±ÜPÜ®ÝX A¼ÊÜê©œ ±ÜwÔ¨ÜÃÜá. »èWæ ã àÚPÜ ÊÜ á ãÆPÜ R ®Ü á ÓÝÃÜ Ê ÝX ÓÜ Ä ¿Þ¨Ü
ñÜPÜì (R) : BñÜ®Ü ±Ü¨Üœ£¿áá ±ÜŨÜÍÜì®ÜPÜÆÉ¨Ü A®ÜáPÜÅÊÜá~Pæ¿á®Üá° PÜívÜá×wÀáÄ.
Ԩܜñæ¿áÈÉ ±ÝñÜÅÊæäí¨Ü®Üá° ±ÜÄÍæãà˜ÓÜÆá i. ÃÜíWÝ¿áO…
ÊÜáñÜᤠA®Üá»ÜËÓÜÆá ˨ݦìWÜÚWæ ii. BËÐÝRÃ…
ÊÜÞWÜì¨ÜÎì¿ÞXÃÜáñܤ¨æ. iii. Óæãà±Ý®Üí
Pæãàv…WÜÙÜá : iv. ÃÜíWÜ˨ÜãÐÜP…
(A) (A) ÊÜáñÜᤠ(R) AÓÜñÜÂÊÝXÊæ
Pæãàv…WÜÙÜá :
(B) (A) ÊÜáñÜᤠ(R) ÓÜñÜÂÊÝXÊæ
(C) (A) ÓÜñÜÂÊÝX¨æ ÊÜáñÜᤠ(R) AÓÜñÜÂÊÝX¨æ (A) i iii iv ii
(D) (A) AÓÜñÜÂÊÝX¨æ ÊÜáñÜᤠ(R) ÓÜñÜÂÊÝX¨æ (B) ii iv iii i
(C) iv ii i iii
90. ±Üqr – I ®Üá° ±Üqr – II Ãæãí©Wæ Öæãí©ÔÄ.
(D) iii i ii iv
±Üqr – I ±Üqr – II
a. ÓÜÌWÜñÜ i. A£ÊÜÞ®ÜÊÜ 93. “ ÃÜ í WÜ » Ü ã Ëá¿áá ñÜ ® Ü ° Ð Ü r P æ R gWÜ ñ Ü ¤ ® Ü á ° C®Ü ° Ð Ü á r
±ÝñÜÅWÜÙÜ ÓÜíÊÜÖÜ®Ü EñܤÊÜáÊÝWÜáÊÜíñæ Ÿ¨ÜÈÓÜáÊÜâ©ÆÉ , B¨ÜÃæ B
b. BPÝÍÜÊÝ~ ii. ±ÝÅ£¯—PÜ Ÿ¨ÜÇÝÊÜOæ¿á ±ÜÅQÅÁá¿áÈÉ ñܮܰ ËáñÜÊݨÜ
ñÜíñÜÅWÝÄPæ PæÉàÊÜå…®Üá° (ÖÜPÜR®Üá° ) ÊÜáíwÓÜÆá ÃÜíWÜ»ÜãËáWæ
c. ®Ýo«ÜËáì iii. ±ÜÅÓÜᤣ ñÜíñÜÅWÝÄPæ ®ÝÊÜâ AÊÜPÝÍÜ Pæãvæãà| ÊÜáñÜᤠÃÜíWÜ»ÜãËá¿á
d. ÇæãàPÜ«ÜËáì iv. ñܮܰÐÜrPæR ÊÜÞñÜá »ÝÐæ¿áá ×àWæÁáà GÇæÉvæ Ÿ¨ÜÇÝÊÜOæ
ÊÜ Þ vÜ á ÊÜ â ¨Ü ® Ü á ° ÊÜ á áí¨Ü á ÊÜ Ä ÓÜ á ñÜ ¤ ¨ æ Gí¨Ü á
Pæãàv…WÜÙÜá :
BÎÓæãà|” Gí¨Üá ¿ÞÃÜá ÖæàÚ¨ÜÃÜá ?
a b c d
(A) Öܹฅ ñܯÌàÃ…
(A) i ii iii iv
(B) ii iii iv i (B) ¸Ý¨ÜÇ… ÓÜPÝìÃ…
(C) iv i ii iii (C) ÓÜ´…¨ÜÃ… ÖÜξ
(D) iii iv ii i (D) ±ÜÅÓܮܰ
Paper II 34 K-3920

88. The book “Play making : A manual of 91. Who wrote the book Impro-Improvisation
Craftsmanship” is written by and the theatre ?
(A) Willan Archer (A) Edward
(B) Bertolt Brech
(B) Keith Johnstone
(C) John Gassner
(C) Peter Brook
(D) Martin Esslin
(D) Peter Slade
89. Assertion (A) : Stanislavski
developed his system from his work as
an actor, director and teacher. 92. Find the correct sequence according to
Reasoning (R) : His system is a flexible the geographical origin of the following
guide for the students to explore and theatre companies North to South.
experience a character in preparation not
for a performance. i. Rangayan
Codes : ii. Awishkar
(A) (A) and (R) are false iii. Sopanam
(B) (A) and (R) are true iv. Rangvidushak
(C) (A) is true and (R) is false
Codes :
(D) (A) is false and (R) is true
(A) i iii iv ii
90. Match the List – I with List – II : (B) ii iv iii i
List – I List – II
(C) iv ii i iii
a. Swagata i. Supernatural
characters (D) iii i ii iv
communication
b. Akashavani ii. Representational
technique 93. Who said “theatre by itself will never
change the world will never change the
c. Natyadharmi iii. Presentational world for better, but let us allow theatre
technique
to sake a modest claim in the process
d. Lokadharmi iv. Aside of that change and let us wish that the
language of theatre continues to change
Codes :
everywhere accordingly” ?
a b c d
(A) Habib Tanveer
(A) i ii iii iv
(B) ii iii iv i (B) Badal Sircar
(C) iv i ii iii (C) Safdar Hashmi
(D) iii iv ii i (D) Prasanna

K-3920 35 Paper II

94. PæÙÜX®Ü ÖæàÚPæWÜÙÜ®Üá° ±ÜÄWÜ~ÔÄ. 96. PÜŸáQ Êæà©Pæ¿á ÊæáàÇæ ¯àÊÜâ D ÊÜáÃܨÜ

i. AvæãàÇ…– A²³¿ÞÃÜÊÜÃÜ ¨ÜêÍÜ ¨ÜêÍÝÂÊÜÚWÜÙÜ®Üá° ®æãàvÜáËÄ.
Ë®ÝÂÓÜWÜÙÜá ÓÜÊÜáñÜÆÊÝX A£ JñÜá¤
(A) ¯àÆXÄ ÊÜáÃÜ
¯àvÜƳorÊÜâWÜÙÝX¨Ü㪙, BñܯWæ ¸æÙÜPÜá
ÊÜáñÜᤠ®æÃÜÙÜÈÉ Jí¨Üá ÓÜÊÜáñæãàÆ®ÜÊÜ®Üá° (B) BÆ¨Ü ÊÜáÃÜ
Êæã¨ÜÆ ¸ÝÄWæ ñÜÃÜáÊÜâ¨Üá ÓÝ«ÜÂÊÝÀáñÜá.
(C) ²àñܨÝÃÜá (±æç®…) ÊÜáÃÜ
ii. C®æãí° ¨ævæ WæãàvÜì®… PæÅàW… ñÜ® °Ü Ë®ÝÂÓܨÈ
Ü É
ÍÜêíXà¿á ¨ÜêÍÝÂíÍÜWÜÚWæ JñÜᤠ¯àw¨ÜÃÜá. (D) ¸æà訆 ÊÜáÃÜ
Pæãàv…WÜÙÜá :
97. PæÙÜX®Ü ÖæàÚPæWÜÙÜ®Üá° ±ÜÄWÜ~ÔÄ :
(A) (i) AÓÜñÜÂÊÝX¨æ ÊÜáñÜᤠ(ii) ÓÜñÜÂÊÝX¨æ
(B) (i) ÓÜñÜÂÊÝX¨æ ÊÜáñÜᤠ(ii) AÓÜñÜÂÊÝX¨æ i. GÈÓÜ®… ´æäàv…ì ±ÜÅPÝÃÜ ""±ÝÅ¿áÍÜ@
EñܤÊÜá Ë®ÝÂÓÜÊæíŸáÊÜâ¨Üá »ÝÊÜ®ÝñܾPÜ
(C) (i) ÊÜáñÜᤠ(ii) GÃÜvÜã AÓÜñÜÂÊÝXÊæ
ÊÜáñÜᤠ¸è©œPÜ PæÒàñÜÅWÜÙÜ ®ÜvÜáË®Ü
(D) (i) ÊÜáñÜᤠ(ii) GÃÜvÜã ÓÜñÜÂÊÝXÊæ
dæà¨Ü®ÜÊÝX¨æ''.
95. PæÙÜX®Ü¨Ü®Üá° Öæãí©ÔÄ.
ii. Ë®ÝÂÓÜ ±ÜÅQÅÁá¿áá ±ÝÅ¥ÜËáPÜÊÝX ¸è©œPÜ
±Üqr – I ±Üqr – II ÊÜáñÜᤠ»ÝÊÜ®æWÜÙÝX¨Ü᪠ÓÜÊÜÞ®ÜÊÝX
a. »Üor ®ÝÃÝ¿á| i. aÜívÜ PèÎPÜ Ë®ÝÂÓÜ ÓÜËáàPÜÃÜ|¨Ü ±ÜÅÊÜááSÊݨÜ
b. PæÒàÊæáàÍÜÌÃÜ ii. Êæà~ ÓÜíÖÝÃÜ »ÝWÜÊÝX¨æ GíŸáÊÜâ¨Ü®Üá° A¥Üì
c. ÎÅà ÖÜÐÜì iii. EñܤÃÜÃÝÊÜá aÜÄñæ ÊÜÞwPæãÙÜáÛÊÜâ¨Üá ÊÜááS™.
d. »ÜÊÜ»Ü㣠iv. ÃÜñÝ°ÊÜÚ Pæãàv…WÜÙÜá :
Pæãàv…WÜÙÜá :
(A) (i) AÓÜñÜÂÊÝX¨æ ÊÜáñÜᤠ(ii) ÓÜñÜÂÊÝX¨æ
a b c d
(A) ii i iv iii (B) (i) ÓÜñÜÂÊÝX¨æ ÊÜáñÜᤠ(ii) AÓÜñÜÂÊÝX¨æ

(B) i ii iii iv (C) (i) ÊÜáñÜᤠ(ii) GÃÜvÜã ÓÜñÜÂÊÝXÊæ
(C) iii iv ii i
(D) (i) ÊÜáñÜᤠ(ii) GÃÜvÜã AÓÜñÜÂÊÝXÊæ
(D) iv iii i ii

Paper II 36 K-3920

94. Consider the following statements : 96. On the Kabuki stage you see the scenery
i. Adolp Appia’s scenic designs were of the _________ tree.
overemphasized horizontally, yet
he could bring a balanced variety in (A) Eucalyptus tree
light and shade for the first time.
(B) Banyan tree
ii. Gordon Craig on the other hand,
stressed vertical scenic elements in (C) Pine Tree
his design.
(D) Neem tree
Codes :
(A) (i) is false and (ii) is true 97. Consider the following statements :
(B) (i) is true and (ii) is false
i. According to Alison Ford
(C) Both (i) and (ii) are false
“Perhaps good design is the
(D) Both (i) and (ii) are true
intersection between the emotional
95. Match the following : and intellectual realms”.
List – I List – II
ii. It is important to understand that
a. Bhatta i. Chanda
Narayana Koushika the design process is primarily

b. Kshemeswara ii. Veni Samhara intellectual and emotions are

c. Shree Harsha iii. Uttararama equally important part of the
charite
design equation.
d. Bhava Bhooti iv. Ratnavali
Codes :
Codes :
a b c d (A) (i) is false and (ii) is true
(A) ii i iv iii
(B) (i) is true and (ii) is false
(B) i ii iii iv
(C) Both (i) and (ii) are true
(C) iii iv ii i
(D) iv iii i ii (D) Both (i) and (ii) are false
K-3920 37 Paper II

98. PæÙÜX®ÜÊÜâWÜÙÜ®Üá° Öæãí©ÔÄ.
100. PæÙÜX®ÜÊÜÃÜ®Üá° PÜÅÊÜÞ®ÜáWÜñÜÊÝX ŸÃæÀáÄ.
±Üqr – I ±Üqr – II

a. WæãàËí¨Ü ±æç i. ÓÜÌ|ì ÊÜáã£ì i. A¼®ÜÊÜWÜá±Ü¤

b. PÜáÊæí±Üâ ii. AÍÜÌñݧÊÜá®…
ii. ÇæãÆÉo
c. ¹.Gí.ÎÅà. iii. ¸æÃÜÙæY PæãÃÜÙ…

d. A. ®Ü. PÜê™. iv. Öæ¸æºÃÜÙÜá iii. ÍÜíPÜáPÜ

Pæãàv…WÜÙÜá :
iv. E¨Ü½o
a b c d

(A) iii i iv ii Pæãàv…WÜÙÜá :

(B) i ii iii iv
(A) A¼®ÜÊÜWÜá±Ü¤™, E¨Ü½o, ÍÜíPÜáPÜ,
(C) iv iii ii i
ÇæãÆÉo
(D) ii iv i iii
(B) E¨Ü½o, ÇæãÆÉo, A¼®ÜÊÜWÜá±Ü¤™,

ÍÜíPÜáPÜ
99. Wæãà±ÝÇ… ÔàÇ… PÜÆRñݤ¨Ü ___________
¦ÁáàoÄ®ÜÈÉ Óݧ²ÓÜƳor ±ÜÅ¥ÜÊÜá CÇæQóP… (C) ÍÜíPÜáPÜ, A¼®ÜÊÜWÜá±Ü¤™, ÇæãÆÉo,
hæ®ÜÃæàoÃ… BXñÜᤙ.
E¨Ü½o
(A) Ãܹàí¨ÜÅ ÓܨܮÜ

(B) GÊÜáÃÝÇ…x ¦ÁáàoÃ… (D) E¨Ü½o, ÇæãÆÉo, ÍÜíPÜáPÜ, A¼®ÜÊÜWÜá±Ü¤

(C) ÊÜá«ÜáÓÜã¨Ü®… ÊÜáía…

(D) APÝvæËá B´… ´æç®… Bp…Õì

Paper II 38 K-3920

98. Match the following : 100. Arrange the following in chronological

List – I List – II order :

a. Govindapai i. Swarna Murty
i. Abhinavagupta
b. Kuvempu ii. Aswathaman

c. B. M. Sri. iii. Beralge Koral ii. Lollata

d. Aa. Na. Kru. iv. Hebberalu iii. Shankuka

Codes :
iv. Udbhata
a b c d

(A) iii i iv ii Codes :
(B) i ii iii iv
(A) Abhinavagupta, Udbhata, Shankuka,
(C) iv iii ii i
Lollata
(D) ii iv i iii
(B) Udbhata, Lollata, Abhinavagupta.
99. Gopal Seel was the first electric generator
installed at the ___________ theatre in Shankuka
Calcutta.
(C) Shankuka, Abhinavagupta, Lollata,
(A) Rabindra Sadhan
Udbhata
(B) Emerald Theatre

(C) Madhusudan Manch (D) Udbhata, Lollata, Shankuka,

(D) Academy of Fine Arts Abhinavagupta

K-3920 39 Paper II

bñÜᤠŸÃÜÖÜPÝRX ÓܧÙÜ
Space for Rough Work

Paper II 40 K-3920