Nta Ugc Net Performing Art – Dance/Drama/Theatre Syllabus

Nta Ugc Net Performing Art – Dance/Drama/Theatre Syllabus 2023 in English

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Here you can check the latest UGC NET Syllabus For Performing Arts Paper-II 2021 for English Medium.

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 evidenced in cave 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 rituals 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 a focus on dance and theatre

Unit 2. Folk and 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

Unit 3. The Natyasastra

Knowledge of Natyasastra and the concept of Natya and Nritta
Study of chapters relating to the eleven aspects (Ekadashi 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 Bhattalollata, Sri Sankuka, Bhattanayaka and Abhinavagupta
Rasa and its constituent elements, viz., Sthayi, Sanchari and Sattvika bhavas and their corresponding 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 Countries

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.

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 the ancient and medieval period- Natyasastra, Abhinaya Darpana, Sangeeta Ratnakara, Nritta Ratnavali and Nartana Nirnaya. Concepts 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 an introduction to other region/form specific texts like Hasta Lakshana Deepika, Balarama Bharatam, Abhinaya Chandrika, Srihasta Muktavali and others
The various categories and typologies of Nayakas and Nayikas and their avasthas according to Bharata’s Natyasastra, Saradatanaya’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 Hindustani and Carnatic music traditions
A brief study of Composers/Vaggeyakaras and their works including Jayadeva, Narayanateertha, Surdas, Meera Bai, Tulasidas, Vanamalidas, Kshetrayya, Srimanta Shankar Deva, Govindadas, Vidyapati, and others.
Study of the role of Rabindranath Tagore, Rukmini Devi Arundale, Vallathole Narayana Menon, Madame Menaka and others in the revival and reconstruction of classical dance

Unit. 8 Indian Classical Dance in Independent India

An overview of major Gurus, performers, their works and important institutions in Independent 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 the 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 the curriculum in school education and Universities
Movement Analysis based on kinesthetics 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’s to the present like applied areas 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
The 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
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, Ionesco

Unit 7. Modern Indian Theatre

Origin and development of modern Indian theatre with reference to the region, state and personalities
a brief study of new trends in theatre since the Independence movement both at the national and regional level, such as IPTA movement, Navanatya movement, Root Theatre movement, Third 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 Houses, 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
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 playhouses of the classical era

(B)

Stagecraft: 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 and organization

(D)

Children’s theatre, applied theatre, community theatre, theatre in education, theatre of oppressed and feminist theatre

Unit 10: Theatre Education, Pedagogy and Research

Theatre as part of the curriculum from primary education and in the 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 the theatre- major institutions, organizations, Government, corporate, private bodies and personalities after independence
Awareness of important theatre festivals, Awardees and current affairs in theatre

Nta Ugc Net Performing Art – Dance/Drama/Theatre Syllabus 2023 in Hindi

Nta Ugc Net Performing Art – Dance/Drama/Theatre Syllabus 2023 Download Pdf in English

Nta Ugc Net Performing Art – Dance/Drama/Theatre Syllabus 2023 Download Pdf in Hindi

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