Natyashastra – UGC NET Style
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The author traditionally ascribed to the Natyashastra is:
A) Kalidasa
B) Bharata Muni
C) Abhinavagupta
D) Sarangadeva
Answer: B -
The term “Nāṭya” in Natyashastra primarily denotes:
A) Pure dance movement (Nṛtta) only
B) Dramatic art combining dance, speech & music
C) Instrumental music only
D) Temple sculpture
Answer: B -
According to Natyashastra, what is the difference between Nṛtta and Nāṭya?
A) Nṛtta uses speech; Nāṭya is silent
B) Nṛtta is pure movement; Nāṭya involves narrative and acting
C) Nṛtta is dramatic; Nāṭya is ritual
D) They are the same
Answer: B -
Which one of the following is not one of the four types of Abhinaya in Natyashastra?
A) Āṅgika
B) Vācika
C) Āhārya
D) Nāṭyika
Answer: D -
Sāttvika Abhinaya refers to:
A) External costume and stage-props
B) Voice modulation and song
C) Inner involuntary emotional states expressed physically
D) Hand gestures only
Answer: C -
Nāṭyadharmi and Lokadharmi are two styles of representation. Lokadharmi means:
A) Highly stylised, symbolic acting
B) Naturalistic imitation of everyday life
C) Ritual dance only
D) Instrumental performance only
Answer: B -
Which principal Vritti is associated with grace and erotic sentiment (Śṛṅgāra) according to Natyashastra?
A) Sattvati
B) Arabhati
C) Kaiśikī
D) Bhāratī
Answer: C -
The term “Daśarūpaka” in the Natyashastra context means:
A) The ten musical scales
B) Ten types of dramatic composition
C) Ten hand-gestures (hastas)
D) Ten temple theatre styles
Answer: B -
The stage-space in an ancient Indian theatre as described in the Natyashastra is called:
A) Rangashala
B) Natyagṛha
C) Koothambalam
D) Pradakshina
Answer: B -
What is “purvaraṅga-vidhi”?
A) The final act of a drama
B) The preliminary ritual and setup before the play begins
C) The actor’s exit speech
D) The musical interlude only
Answer: B -
The Natyashastra divides the theatre instruments into how many categories (Tat, Avanaddha, etc.)?
A) Two
B) Three
C) Four
D) Five
Answer: C -
Which chapter of Natyashastra deals with the theory of Rasa?
A) Chapter I
B) Chapter VI
C) Chapter XX
D) Chapter XXX
Answer: B -
The Natyashastra prescribes a dividing of the audience seating called “kakṣya-vibhāga”. This term refers to:
A) Backstage dressing rooms
B) Division of audience seats into different sections
C) Types of plays
D) Types of musical instruments
Answer: B -
The concept of Sahr̥daya in Natyashastra refers to:
A) The actor
B) The musician
C) The sensitive spectator capable of tasting Rasa
D) The playwright
Answer: C -
Which of the following is not one of the Daśarūpakas?
A) Nāṭaka
B) Bhāṇa
C) Nāgaka
D) Vyāyoga
Answer: C -
In the Natyashastra, the term “vibhāva” refers to:
A) The physical expression of emotion
B) The cause or stimulus that gives rise to a particular bhāva
C) The effect of the rasa on the audience
D) A hand gesture
Answer: B -
“Anubhāva” in Natyashastra means:
A) A musical interlude
B) The external manifestation or aftermath of the bhāva
C) The last act of a play
D) A stage prop
Answer: B -
The Natyashastra prescribes the size and shape of the playhouse (Natyagṛha) in relation to:
A) The number of spectators and the type of performance
B) Only the kings’ preference
C) Only for temple ceremonies
D) None of the above
Answer: A -
In Natyashastra, which of the following is emphasised as the highest aim of drama (nāṭya)?
A) Pure entertainment only
B) Education, recreation and spiritual uplift
C) Profit for the performer
D) Only dance display
Answer: B -
The term “sāmānya abhinaya” refers to:
A) Colourful pictorial gesture sequences
B) Generalised, codified expressions common to all emotions
C) Musical rhythm alone
D) Costume design
Answer: B -
“Citraabhinaya” means:
A) Ordinary depiction of story
B) A highly decorated, pictorial, extravagant style of enactment
C) Silent dance
D) Mime only
Answer: B -
In the Natyashastra, which of these is not one of the prescribed five types of stage entrances (Pravesha)?
A) Udaya
B) Avarana
C) Bahya
D) Tatapatha
Answer: D -
According to Natyashastra, the number of Sthāyibhāva (stable emotions) is:
A) Seven
B) Eight
C) Nine
D) Ten
Answer: A -
Which of the following dramatises the notion of “theatrical architecture” in Natyashastra?
A) Ranga
B) Tala
C) Raga
D) Bhava
Answer: A -
The Natyashastra considers drama (nāṭya) to be a synthesis of the four Vedas. Which Veda provides the basis for “abhinaya” (gesture)?
A) Ṛgveda
B) Sāmaveda
C) Yajurveda
D) Atharvaveda
Answer: C -
The term “laya” in Natyashastra refers to:
A) Stage prop
B) Rhythm or tempo in performance
C) Costume
D) Dialogue only
Answer: B -
Which vritti emphasises eloquence and verbal expression (especially dialogue)?
A) Kaiśikī
B) Bhāratī
C) Arabhati
D) Sattvata
Answer: B -
The “purvaranga” includes:
A) The main dramatic action
B) Musical prelude, salutation to deity, actors’ entry
C) The final act only
D) None of the above
Answer: B -
According to Natyashastra, the classification of musical instruments includes “Tat” for:
A) Wind instruments
B) String-chord instruments
C) Percussion instruments
D) Solid struck instruments
Answer: B -
The “daśarūpaka” which is a one-actor monologue is:
A) Nāṭaka
B) Bhāṇa
C) Vyāyoga
D) Utsṛṣṭikāṅka
Answer: B -
The Natyashastra’s principle of staging emphasises:
A) Fixed indoor theatre only
B) Any open or sheltered space as long as proportions are maintained
C) Only temple halls
D) None of the above
Answer: B -
Which one of the following is a one-act heroic drama of the Daśarūpaka list?
A) Prakaraṇa
B) Vyāyoga
C) Samavakāra
D) Prahasana
Answer: B -
Which of the following is the correct sequence of enactment as per Natyashastra?
A) Nandi → Tāṇḍava-lakṣaṇa → Rasa → Nayaka-bheda
B) Rasa → Nandi → Tāṇḍava-lakṣaṇa → Nayaka-bheda
C) Nāyaka-bheda → Nandi → Rasa → Tāṇḍava-lakṣaṇa
D) Nandi → Rasa → Nayaka-bheda → Tāṇḍava-lakṣaṇa
Answer: A -
Which of the following is NOT among the four major “mood-styles” (vrittis) in Natyashastra?
A) Bhāratī
B) Sattvata
C) Kaiśikī
D) Vṛttikā
Answer: D -
The Natyashastra equates the stage and performance with a:
A) Market platform
B) Ritual sacrifice (yajña)-like activity
C) Court judgement
D) Private recital
Answer: B -
According to Natyashastra, how many “karanas” (units of movement combining hands & feet) are defined approximately?
A) 24
B) 108
C) 32
D) 56
Answer: B (approx. 108) -
The commentator who wrote the famous Abhinavabhāratī commentary on Natyashastra is:
A) Sarangadeva
B) Abhinavagupta
C) Bharata Muni
D) Nandikeshvara
Answer: B -
The Natyashastra states that the essence of the Vedas can be manifested through drama and thus calls Nāṭya the:
A) Second Veda
B) Third Veda
C) Fifth Veda
D) Sixth Veda
Answer: C -
The division “ranga-peetha” refers to:
A) The actor’s seat
B) The raised platform or stage area in theatre
C) The musician’s pit
D) The audience gallery
Answer: B -
In Natyashastra, “Pravṛtti” means:
A) Style of presentation or school of performance
B) Gesture vocabulary only
C) Stage lighting
D) A play’s theme
Answer: A -
In Nāṭyaśāstra, how many Rasas (aesthetic sentiments) are described by Bharata?
A) Seven
B) Eight
C) Nine
D) Ten
Answer: C (Nine)
42. The ninth Rasa Śānta was later added by which philosopher?
A) Bharata himself
B) Abhinavagupta
C) Kalidasa
D) Dhanañjaya
Answer: B
43. The term Sthāyibhāva in the Rasa theory means:
A) Transient feeling
B) Permanent or stable emotion underlying a Rasa
C) Costume pattern
D) Hero’s mood
Answer: B
44. The combination Vibhāva + Anubhāva + Vyabhicāribhāva = ?
A) Tāla
B) Nāyaka
C) Rasa
D) Dharmi
Answer: C (This is Bharata’s Rasa-sūtra)
45. The Rasa Vīra (heroic) arises from which Sthāyibhāva?
A) Harṣa (joy)
B) Utsāha (energy/courage)
C) Śoka (grief)
D) Krodha (anger)
Answer: B
46. The Rasa Raudra (fury) arises from:
A) Krodha (anger)
B) Bhaya (fear)
C) Ānanda (joy)
D) Jugupsā (disgust)
Answer: A
47. The Rasa Adbhuta (wonder) arises from:
A) Vismaya (astonishment)
B) Śoka (grief)
C) Bhaya (fear)
D) Hāsa (laughter)
Answer: A
48. Which among these is not a Rasa?
A) Bhayānaka
B) Vātsalya
C) Bībhatsa
D) Hāsya
Answer: B
49. The Rasa Śṛṅgāra is derived from which Sthāyibhāva?
A) Rati (love)
B) Harṣa (joy)
C) Ānanda
D) Krodha
Answer: A
50. In Bharata’s classification, Nāyaka (hero) has how many basic types?
A) Two
B) Three
C) Four
D) Five
Answer: C (Four – Dhirodhāta, Dhirodatta, Dhiralalita, Dhirapraśānta)
51. The Nāyikā-bheda (types of heroines) in Nāṭyaśāstra are based mainly on:
A) Costume
B) Relationship and emotional states
C) Musical style
D) Language
Answer: B
52. The four Nāyikā types are —
A) Swādhīna, Vāsakasajjā, Kalahāntaritā, Vipralabdhā
B) Ābhāraṇa, Rañjanā, Kāruṇikā, Hāsikā
C) Lāvaṇya, Saundarya, Śānta, Bhayānaka
D) None
Answer: A
53. The Vrittis in Nāṭyaśāstra are the:
A) Modes or styles of dramatic expression
B) Types of Rasas
C) Types of Abhinayas
D) Musical modes
Answer: A
54. Bhāratī Vritti is characterized by:
A) Emphasis on speech and dialogue
B) Graceful and delicate movement
C) Forceful physical action
D) Emotionally noble tone
Answer: A
55. Kaiśikī Vritti is associated with:
A) Śṛṅgāra Rasa
B) Raudra Rasa
C) Karuṇa Rasa
D) Bhayānaka Rasa
Answer: A
56. Ārabhāṭī Vritti represents:
A) Vigorous and martial style
B) Comic satire
C) Feminine grace
D) Religious devotion
Answer: A
57. Sāttvatī Vritti denotes:
A) Grand and noble expression (linked with Vīra and Adbhuta)
B) Love and grace
C) Comic style
D) Tragic tone
Answer: A
58. The Dharmis are divided into how many categories?
A) Two
B) Three
C) Four
D) Six
Answer: A (Two — Nāṭyadharmī and Lokadharmī)
59. Nāṭyadharmī style implies:
A) Realistic acting
B) Stylised, codified representation
C) Improvisational naturalism
D) Comic play
Answer: B
60. Lokadharmī style represents:
A) Stylized gestures
B) Realistic depiction of life
C) Mythological enactment
D) Ritual ceremony
Answer: B
61. Pravṛtti in Nāṭyaśāstra refers to:
A) Regional variations or schools of performance
B) The hero’s motivation
C) A poetic metre
D) A musical pattern
Answer: A
62. The total number of Pravṛttis is:
A) Four
B) Five
C) Six
D) Seven
Answer: A
63. Which of the following is not among the four Pravṛttis?
A) Dakṣiṇātya
B) Āvantī
C) Oḍra-Māgadhī
D) Drāviḍa-Kalinga
Answer: D (Only first three + Pāñcāla-Madhyamā are authentic four)
64. In Natyagṛha (playhouse), the ranga is:
A) Stage or acting area
B) Audience section
C) Curtain
D) Store room
Answer: A
65. According to Nāṭyaśāstra, how many sizes of playhouses are prescribed?
A) Two
B) Three
C) Four
D) Five
Answer: B (Large, Medium, Small)
66. The Natyagṛha should face which direction ideally?
A) North or East
B) South
C) West
D) Any direction
Answer: A
67. The audience seating classification Kakṣya-vibhāga literally means:
A) Division of stage areas
B) Division of audience zones
C) Lighting arrangement
D) Actor positioning
Answer: B
68. Pūrvaraṅga consists of how many preparatory items?
A) 5
B) 8
C) 12
D) 20
Answer: C (12)
69. The Nāndī in a play is:
A) Benediction or invocation at the beginning
B) Comic prologue
C) Stage direction
D) Epilogue song
Answer: A
70. Patākā-sthāna in Vīthi drama refers to:
A) A side episode or sub-plot
B) A type of drum
C) An ornament
D) Stage prop
Answer: A
71. Daśarūpaka literally means:
A) Ten musical tones
B) Ten forms of dramatic representation
C) Ten hand gestures
D) Ten types of Rasas
Answer: B
72. Vyāyoga in Daśarūpaka is characterized by:
A) One-act heroic play without women
B) Comic farce
C) Monologue
D) Grand play with ten acts
Answer: A
73. Prahasana means:
A) Farce or comic satire
B) Grand play
C) Lamentation
D) Musical interlude
Answer: A
74. Bhāṇa is best described as:
A) One-actor monologue play
B) Ensemble dance-drama
C) Tragic lament
D) Ritual enactment
Answer: A
75. Utsṛṣṭikāṅka represents:
A) Post-battle lament, one act, Karuṇa Rasa
B) War scene drama
C) Romantic quest
D) Mythic spectacle
Answer: A
76. Samavakāra is notable for having exactly:
A) Three acts and numerous divine characters
B) One act and monologue
C) Ten acts
D) No act division
Answer: A
77. Ḍima emphasises which Rasa?
A) Raudra (anger)
B) Hāsya (humour)
C) Śṛṅgāra (love)
D) Adbhuta (wonder)
Answer: A
78. Prakaraṇa differs from Nāṭaka in that:
A) It uses invented stories instead of famous ones
B) It has only one act
C) It has divine heroes
D) It is purely musical
Answer: A
79. Īhāmṛga is known for:
A) Quest for the unattainable goal
B) Monologue acting
C) Religious ritual
D) Social satire
Answer: A
80. Vīthi is:
A) Miniature or sketch play using devices like Patākā, Cihna, Chala
B) Heroic drama
C) Ritual lament
D) Royal tragedy
Answer: A
81. Nāṭaka and Prakaraṇa both generally have how many acts?
A) 3–5
B) 5–10
C) 1
D) Unlimited
Answer: B
82. The Vīra Rasa corresponds to which Vritti?
A) Ārabhāṭī
B) Bhāratī
C) Kaiśikī
D) None
Answer: A
83. The Karuṇa Rasa corresponds to which Sthāyibhāva?
A) Śoka (sorrow)
B) Krodha
C) Harṣa
D) Ānanda
Answer: A
84. The Hāsya Rasa emerges from which Bhāva?
A) Hāsa (laughter)
B) Harṣa (delight)
C) Rati (love)
D) Ānanda (joy)
Answer: A
85. The number of Vyabhicāribhāvas (transitory emotions) listed in Nāṭyaśāstra is:
A) 15
B) 33
C) 24
D) 9
Answer: B
86. The Sāmānya Abhinaya focuses on:
A) Codified, universally recognised gestures
B) Decorative exaggerations
C) Music only
D) Stage structure
Answer: A
87. Chitrābhinaya refers to:
A) Ornamental and pictorial expression
B) Simplified dialogue
C) Dance without emotion
D) None
Answer: A
88. The Āhārya Abhinaya involves:
A) Costume, make-up, ornaments, scenery
B) Facial expression only
C) Vocal music
D) Dialogue
Answer: A
89. The Āṅgika Abhinaya includes:
A) Body movements, limbs, and facial gestures
B) Costume
C) Internal emotion
D) Speech
Answer: A
90. Vācika Abhinaya relates to:
A) Voice, speech, song, recitation
B) Costume design
C) Gesture language
D) Stage property
Answer: A
91. Sāttvika Abhinaya expresses:
A) Emotions through involuntary physical changes (tears, tremor, sweat)
B) Make-up and costume
C) External props
D) None
Answer: A
92. The Nāṭyaśāstra mentions how many Tāṇḍavas originally?
A) One
B) Two (Ānanda & Rudra)
C) Five
D) Seven
Answer: B
93. The term Lasya refers to:
A) Graceful feminine dance complementing Tāṇḍava
B) Fierce dance of Śiva
C) Ritual music
D) Comic acting
Answer: A
94. The Nṛtta-hasta (pure dance hand gestures) are primarily associated with:
A) Nṛtta
B) Nāṭya
C) Rasa
D) Abhinaya
Answer: A
95. The primary Prayoga (performance mode) for drama as per Nāṭyaśāstra includes:
A) Nāṭya, Nṛtta, Gīta, Vādya
B) Rasa, Bhāva, Nāyaka, Nāyikā
C) Dharmi, Vritti, Pravritti, Abhinaya
D) None
Answer: A
96. The Sutradhāra in ancient theatre functioned as:
A) The narrator and stage manager guiding the play
B) The hero
C) The musician
D) The costume designer
Answer: A
97. Rangapeetha in Nāṭyaśāstra is defined as:
A) The acting platform within the playhouse
B) Dressing area
C) Audience zone
D) Storage
Answer: A
98. Nandi is recited at which point of the performance?
A) Beginning, as an auspicious invocation
B) After interval
C) End of play
D) Between acts
Answer: A
99. Nāṭyaśāstra defines Nāṭya as:
A) The imitation of life to teach and entertain
B) A mere pastime
C) Ritual chanting only
D) None
Answer: A
100. The primary aim of Nāṭya according to Bharata Muni is:
A) To please the gods only
B) To provide education, entertainment, and emotional purification (rasa-anubhava)
C) To record history
D) To replace Vedic ritual
Answer: B