UGC NET GUIDE for DEC 2018

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Updated CBSE UGC NET Syllabus for Performing Arts

Complete 7 Units of Paper 1 in PDF with MCQs ⇒ BUY NOW

UPDATED (MERGED) CBSE UGC NET SYLLABUS FOR PERFORMING ARTS

SUBJECT CODE – 65

 

CBSE has revised the pattern and scheme of the exam from July 2018. The pattern of the exam has been changed from 3 papers (Paper I, II & III) to 2 papers (Paper I & II). There are no changes in the pattern of paper 1, but paper 2 & paper 3 has been merged into One paper.


ACCORDING TO THE NOTIFICATION OF CBSE UGC NET, ALL THE QUESTIONS OF PAPER – II WILL BE COMPULSORY, COVERING ENTIRE SYLLABI OF EARLIER PAPER II & PAPER – III (INCLUDING ALL ELECTIVES, WITHOUT OPTIONS).


Hence, there will be only one question paper in CBSE UGC NET Exam in Performing Arts, called Paper 2. Paper 2 (Paper II) will have 100 Multiple Choice Questions (MCQs) with each question carrying two (2) marks i.e. 200 marks in total. All questions are compulsory in the papers. The objective type questions will include multiple choices, matching type, true / false and assertion-reasoning type etc.

For CBSE UGC NET aspirants, we have merged the entire Syllabi of Paper II and Paper III of the subject of Performing Arts.

 

THE SYLLABUS OF PAPER II WILL BE AS MENTIONED BELOW:

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Unit – I: General Cultural Aspects

Cultural History of India, Knowledge of major epics like Ramayana, Mahabharata, Shilappadikaram in terms of their content, characters and relevance to Indian Theatrical Practice, an acquaintance with Indian mythology.

 

Unit – II: The Natyashastric Tradition

Thorough knowledge of Bharata’s Natyashastra, and its relevance to an influence on Indian Classical Theatre. Origin, aim and nature of Sanskrit natya according to Bharata and later commentators.

The concepts of natya, nritta and nritya – their characteristics in the earliest and medieval theories. The types of theatres and their construction according to Natyashastra.

 

Unit – III: Ancient Practice of Natya

The four ‘abhinayas’; four ‘Vrittis’, four ‘pravrittis’ and two ‘dharmis’ : A study of the ‘nritta karaaas’ of the Natyashastra and their importance. Detailed study of nayaka – nayikabheda and all the classification thereof.

 

Unit – IV: Indian Aesthetics

‘Rasasutra’ of Bharata and its exposition and elaboration by various commentators, viz :, Bhatta Lollata, Sri Shankuka, Bhatta Nayaka and Abhinavgupta. Rasa and its constituent elements, viz., Sthayi, Vyabhichari and Sattvika Bhava, their Vibhava and Anubhava. ‘Dhvani Siddhanta’ of Anandavardhanacharya.

 

Unit – V: Post – Natyashastra Important Texts Relevant for Study of Dance and Drama

Dasha Rupaka of Dhananjay, Abhinaydarpana of Nandikeshvara, Bhavprakashana of Shardatanaya and Natyadarpana of Ramachandra – Gunachandra.

 

Unit – VI: Tradition of Indian Music

General Knowledge of Indian Classical Music – Hindustani and Carnatic and their ‘tala’ patterns.

 

Unit – VII: Forms of Indian Dance and Drama in General

General introduction to seven classical dance styles, viz., Bharata Natyam, Kuchipudi, Odissi, Kathak, Manipuri, Kathakali and Mohini Attam. Knowledge of Indian dance – drama tradition, both classical and folk.

General Introduction to tribal and folk dances of India. Inter – relationship of dance and drama with other plastic arts, e.g., Sculpture, Iconography and Painting in their ancient Indian tradition.

 

Unit – VIII: South – East Asian Dance / Drama

General acquaintance with the theatre traditions of South – East Asia, viz., Sri Lanka, Burma, Thailand, Cambodia, Indonesia, Japan and China.

 

Unit – IX: Social Relevance of Dance and Drama in Contemporary Indian Scene.

Unit – X: Pedagogy in Dance and Drama

Traditional Dance / Drama Training and its relevance today. Dance education at the academic level and its need in the contemporary Indian Society

Dance / Drama Research and other components of co – related arts which are relevant; the importance of modern stage technique, the media and technological advances to the study and propagation of dance / drama.

 

Unit – XI: Dance

Dance History:

History and technique of Indian dance from the ancient times till the modern times to be gathered from different sources like Literature, Epigraphy, Sculpture, Iconography, Painting and religious thought. This entails a thorough study of the Natyashastra and relevant texts.

The Contemporary scene and social ambience of dance in India and World:

History and development of western ballet.

Contemporary modern dance in India.

Well – known Indian innovators and choreographers.

Designing of a Stage Production: The actual creation of a stage production, i.e., the production process in terms of:

Selection of the Subject

Writing the Synopsis

Selection and / or Writing of the Lyrics

Musical Arrangement

Direction and Choreography

Designing of Sets

Designing of Lighting

Designing of Costumes

The Ultimate Presentation

Critical Evaluation

A study of –

seven established classical dance styles in terms of origin, history and development thereto. Other well – established dance traditions like Chhau, Satriya, etc.

The influence of martial arts on the regional dance forms.

 

Unit – XII: Drama / Theatre

Drama and Dramatic Theories

Form of drama, Elements of Drama, Types of Drama, Various Styles of Drama in the context of various ISMS.

Important world dramatists and drama – From Greek to modern.

Contemporary Indian Theatre

Evolution of contemporary theatre in the context of development in Indian Theatre.

New trends in contemporary theatre since Independence movement.

Major movements and major theatre innovators and play wrights.

Acting / Direction

Different schools of acting – Greek to Grotowski, Important contemporary actors – internationally known. Different directoral innovations and methods. Theories of modern stage.

Theatre Design and Techniques

Theatre Architecture – Greek to modern period.

Stage Craft – Set, Lights, Costumes, Make up, Sound, Props.

Theatre Techniques – From selection of script to final performance.

 

Updated CBSE UGC NET Syllabus for Performing Arts (PDF)


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