Tag: UGC NET Solved Papers Performing Arts

UGC NET Unit 9: Theatre Design and Techniques – MCQs – Performing Arts
Unit 9: Theatre Design and Techniques (UGC-NET Performing Arts – Drama & Theatre), modelled on previous year question styles (odd-one-out, matching, sequence, assertion-reason, direct MCQ).
They cover architecture, stage-craft, Ahārya/Nepathya, management, and applied theatre forms.
1. The “orchestra” in Greek theatre refers to the:
  a) actor’s dressing room
  b) circular performance space for chorus and actors
  c) scenery backdrop
  d) audience seating area
  Ans: b
2. A freestanding semicircular theatre building with a scaenae frons is characteristic of:
  a) Greek theatre
  b) Roman theatre
  c) Elizabethan theatre
  d) Sanskrit Natyagruha
  Ans: b
3. The “thrust stage” is best described as:
  a) audience on one side only
  b) audience on three sides with stage projecting into seating
  c) full arena with audience all around
  d) proscenium arch stage
  Ans: b
4. In a proscenium theatre, the architectural feature that separates stage from audience is the:
  a) orchestra pit
  b) flying gallery
  c) proscenium arch
  d) thrust platform
  Ans: c
5. The term Vikr̥ṣṭa Natyagruha in the Sanskrit tradition denotes:
  a) a small intimate theatre
  b) a large theatre house for major performances
  c) a mobile stage cart
  d) an open-air arena only
  Ans: b
6. The hanamichi is a feature of which theatre tradition?
  a) Greek
  b) Chinese Opera
  c) Kabuki
  d) Noh
  Ans: c
7. In stage-craft, “masking” primarily refers to:
  a) actor’s facial prosthetics
  b) blocking audience view of wings and offstage areas
  c) sound amplification
  d) lighting colour filters
  Ans: b
8. Which of the following is not a key function of lighting in theatre?
  a) Mood and atmosphere
  b) Visibility of actors
  c) Costume change
  d) Indicating time/place
  Ans: c
9. A “gobo” in lighting design is used to:
  a) change bulb colour
  b) project patterns or textures of light onto stage surfaces
  c) control sound cues
  d) mount stage props
  Ans: b
10. The costume design element that conveys the period, class and occupation of a character is its:
  a) light plot
  b) silhouette and texture
  c) acoustic setting
  d) actor’s position on stage
  Ans: b
11. Ahārya Vidhi in classical Indian theatre refers to:
  a) backstage rituals and management
  b) external stage adornments – costume, makeup, ornaments
  c) audience behaviour guidelines
  d) actor’s vocal training
  Ans: b
12. Nepathya Vidhi refers to:
  a) the on-stage visual presentation
  b) the backstage arrangements and rituals
  c) audience seating plan
  d) proscenium arch construction
  Ans: b
13. Which of the following seating configurations gives actors the greatest immersive contact with audience (360°)?
  a) Proscenium
  b) Thrust Stage
  c) Arena/Theatre-in-the-Round
  d) Open Stage
  Ans: c
14. The principle of “visual balance” in set design means:
  a) both sides of stage must be identical
  b) the visual weight of objects and actors is proportionally distributed for aesthetic harmony
  c) the lighting must be equal everywhere
  d) actors should not move too much
  Ans: b
15. In theatre management, the person responsible for overall creative vision and season line-up is the:
  a) Box-office manager
  b) Artistic Director
  c) Stage-hand supervisor
  d) Costume cutter
  Ans: b
16. Theatre in Education (TIE) primarily uses theatre for:
  a) commercial entertainment
  b) pedagogy and educational outcomes
  c) architectural design
  d) costume exhibitions
  Ans: b
17. Theatre of the Oppressed was developed by:
  a) Bertolt Brecht
  b) Jerzy Grotowski
  c) Peter Brook
  d) Augusto Boal
  Ans: d
18. In children’s theatre, a key design consideration is:
  a) ultra-luxury costumes
  b) interactive stage space and clear visual imagery
  c) adult language complexity
  d) proscenium grandiosity
  Ans: b
19. A “unit set” in modern theatre refers to:
  a) a completely static single scenery piece
  b) modular set pieces that can represent multiple locations
  c) no scenery at all
  d) a classical temple façade only
  Ans: b
20. The term fly loft refers to:
  a) the area above the stage where scenery can be hoisted and stored
  b) the audience balcony
  c) the backstage corridor
  d) the stage floor trapdoor section
  Ans: a
21. Matching – Match List I (Stage Type) with List II (Characteristic):
  List I: a) Proscenium, b) Thrust, c) Arena, d) Open/Black Box
  List II: i) Audience on three sides, ii) One-side audience facing, iii) Flexible seating configuration, iv) Audience all around
  Select correct code:
  a b c d
  (A) ii i iv iii
  (B) ii iv i iii
  (C) iv ii i iii
  (D) ii i iii iv
  Ans: A
22. Pick the odd one out (in terms of stage lighting instrument):
  a) Fresnel
  b) PAR Can
  c) Follow Spot
  d) Treadmill
  Ans: d
23. Assertion (A): The costume designer must consider colour in relation to stage lighting.
  Reason (R): Some fabrics appear differently under coloured lighting and may clash or disappear.
  (A) Both A & R true and R explains A
  (B) Both A & R true but R does not explain A
  (C) A true, R false
  (D) A false, R true
  Ans: A
24. Which seating form was used predominately in Elizabethan playhouses?
  a) Arena
  b) Proscenium
  c) Thrust
  d) Roman oval
  Ans: c
25. Choose the matching pair:
  a) Sanskrit large theatre – Vikr̥ṣṭa Natyagruha
  b) Kabuki – Thrust stage
  c) Noh – Haeromium (??)
  d) Roman Theatre – Proscenium arch
  Ans: a
26. In lighting design, cross-lighting assists primarily in:
  a) making scenery look flat
  b) reducing actor’s visibility
  c) modelling actor’s body and giving depth
  d) silencing sound cues
  Ans: c
27. The term masking in set design is used for:
  a) audience participation
  b) hiding off-stage areas from audience’s view
  c) painting of actor’s face
  d) costuming
  Ans: b
28. Which theatre form emphasised minimal scenery and the “actor-spectator” direct encounter?
  a) Kabuki
  b) Noh
  c) Poor Theatre
  d) Chinese Opera
  Ans: c
29. Pick the odd one out in terms of backstage design function:
  a) Fly rail
  b) Green room
  c) Hanamichi
  d) Trapdoor
  Ans: c (Hanamichi is onstage runway not purely backstage)
30. Which function is not central to theatre management?
  a) Budgeting
  b) Script analysis
  c) Audience development
  d) Safety compliance
  Ans: b (Script analysis is artistic rather than administrative)
31. In children’s theatre design, the emphasis is least on:
  a) high adult-language dialogue
  b) visual clarity
  c) mobility and interaction
  d) bright colours
  Ans: a
32. A major feature of Kabuki stage design is:
  a) Raised circular orchestra pit
  b) Hanamichi (runway)
  c) Open hillside seating
  d) Masked actor chorus
  Ans: b
33. In Sanskrit theatre, the backstage area is called:
  a) Skene
  b) Nepathya
  c) Pātalā
  d) Orchestra
  Ans: b
34. The term “cyclorama” in lighting or set design refers to:
  a) a flat floor surface only
  b) a large curved backdrop used for background lighting or projection
  c) a handheld mirror used by actors
  d) overhead speakers
  Ans: b
35. Match List I (Classical Asian Theatre) with List II (Architectural Feature):
  List I: a) Noh, b) Peking Opera, c) Sanskrit Natyagruha, d) Kabuki
  List II: i) Bridge-way (hashigakari), ii) Orchestra plus skene, iii) Large Natyagruha with portico, iv) Hanamichi runway
  Codes: a b c d
  (A) i ii iii iv
  (B) i iii ii iv
  (C) i ii iv iii
  (D) iv ii iii i
  Ans: A
36. Which of the following is a primary responsibility of the light designer?
  a) Hiring actors
  b) Blocking scenes
  c) Creating the lighting cue list and mood transitions
  d) Designing walls
  Ans: c
37. The term “fly gallery” is associated with:
  a) Roman theatre machinery
  b) Proscenium theatre backstage architecture where scenery is flown in/out
  c) Sanskrit Natyagruha
  d) Kabuki hanamichi
  Ans: b
38. In set design, the “unit set” concept is best described as:
  a) A single set used for one scene only
  b) Modular and versatile set architecture for multiple scenes
  c) Hand-held props only
  d) No set at all
  Ans: b
39. Which of the following theatre forms explicitly uses actor’s minimal physical movement and symbolism rather than naturalistic behaviour?
  a) Realistic proscenium drama
  b) Noh theatre
  c) Stanislavskian Naturalism
  d) Modern Broadway musical
  Ans: b
40. Which of the following is not a typical function of costume design?
  a) Conveying character’s psychological state
  b) Providing actor’s voice modulation
  c) Indicating social status
  d) Supporting period and context
  Ans: b
41. Which of the following stage types is most flexible and used for experimental theatre?
  a) Proscenium
  b) Arena
  c) Black Box/Open Stage
  d) Thrust
  Ans: c
42. In theatre management, FOH stands for:
  a) Front of House
  b) Fly on House
  c) Festival of Theatre
  d) Form of Handling
  Ans: a
43. Which applied theatre form primarily uses performance for social change and encourages audience participation?
  a) Commercial musical
  b) Theatre of the Oppressed
  c) Classic Shakespeare performance
  d) Stand-up comedy
  Ans: b
44. The Sanskrit term anga, bhava, rasa etc. are part of which design domain?
  a) Lighting design
  b) Set construction
  c) Actor’s expressional system and abhinaya
  d) Theatre management
  Ans: c
45. In lighting design, the use of side lights helps to:
  a) Flatten actor’s form
  b) Emphasise actor’s profile and add modelling/shadow
  c) Blind the audience
  d) Hide the actors
  Ans: b
46. The concept of “Quick Change” in costume practice refers to:
  a) Changing lighting quickly
  b) Actors changing costume in minimal time between scenes
  c) Switching sound cues
  d) Altering set pieces silently
  Ans: b
47. The instrument “PAR Can” is commonly used for:
  a) Soft wash lighting
  b) Strong beam or backlight/fill light for large stage areas
  c) Sound effect
  d) Prop movement
  Ans: b
48. The term “green room” in theatre refers to:
  a) A backstage area where actors wait before going on stage
  b) The lighting control booth
  c) The main audience foyer
  d) The fly-tower
  Ans: a
49. A “cold box” stage set material refers to:
  a) a refrigerated storage for costumes
  b) set-pieces used outdoors
  c) modular flats used for easy change and minimal construction
  d) None of the above
  Ans: c
50. Match List I (Set Type) with List II (Characteristic):
  List I: a) Realistic, b) Stylised/abstract, c) Unit set, d) No scenery/minimalist
  List II: i) Detailed reproduction of environment, ii) Non-literal elements, iii) Versatile modular units, iv) Actor/audience focus with minimal distractions
  Codes: a b c d
  (A) i ii iii iv
  (B) iii i ii iv
  (C) i iii iv ii
  (D) i ii iv iii
  Ans: A
51. Which seating arrangement demands that actor movement accommodates audiences on all four sides?
  a) Thrust
  b) Arena
  c) Proscenium
  d) Open Box
  Ans: b
52. The “skene” in Greek theatre functions as:
  a) orchestra pit
  b) actor’s dressing building and backdrop
  c) audience gallery
  d) fly tower
  Ans: b
53. In costume design, when fabric appears too dark under stage lights and loses detail, the designer has failed to consider:
  a) silhouette
  b) fabric texture and lighting interaction
  c) actor’s height
  d) prop colour
  Ans: b
54. The term fly rail refers to:
  a) audience seating on balcony
  b) mechanical system where stage cloths, lights, and scenery are raised and lowered
  c) director’s seating row
  d) sound control table
  Ans: b
55. Which of the following is not a typical prop category?
  a) Hand prop
  b) Set prop
  c) Decorative prop
  d) Actor’s vocal prop
  Ans: d
56. Which theatre architect is associated with designing Tagore Theatre in Chandigarh?
  a) CP Kukreja
  b) Aditya Prakash
  c) Laurie Baker
  d) Charles Correa
  Ans: b Wikipedia
57. The “bridge-way” or hashigakari is a key architectural element of:
  a) Greek theatre
  b) Kabuki
  c) Noh theatre
  d) Chinese opera
  Ans: c
58. In theatre management, the term “load-in” refers to:
  a) Ticket collection
  b) Bringing in set and equipment to venue
  c) Actor’s warm-ups
  d) Lightning cue rehearsal
  Ans: b
59. The “Open Stage” is also called the:
  a) Proscenium arch
  b) Thrust platform
  c) Black box theatre
  d) Arena stage
  Ans: c
60. In children’s theatre, the “fourth wall” convention is least important because:
  a) Theatre is always improvisational
  b) Children often break wall and enter stage space for interaction
  c) Costumes are bright
  d) Actors speak louder
  Ans: b
61. Which of the following is a key difference between Noh and Kabuki theatres?
  a) Both use masks
  b) Kabuki uses hanamichi, Noh uses hashigakari
  c) Only Noh uses costume change
  d) Neither uses music
  Ans: b
62. The term “prompt corner” refers to:
  a) Actor’s waiting area
  b) Location where stage manager gives cues and controls prompt books
  c) Lighting control desk
  d) Audience seat near aisle
  Ans: b
63. Which form would most likely use street performance, minimal set and audience interaction?
  a) Realist proscenium drama
  b) Community theatre
  c) Opera
  d) Kabuki
  Ans: b
64. Which of the following is not a typical component of theatre backstage infrastructure?
  a) Fly loft
  b) Quick-change area
  c) Control booth
  d) Orchestra pit when used as dressing area
  Ans: d
65. Matching – Match List I (Stage form) with List II (Characteristic):
  List I: a) Circle stage, b) Proscenium, c) Kabuki, d) Sanskrit Vikr̥ṣṭa Natyagruha
  List II: i) Hanamichi, ii) Large classical Indian theatre, iii) Picture-frame stage, iv) Arena/360° seating
  Codes: a b c d
  (A) iv iii i ii
  (B) iii iv ii i
  (C) iv ii i iii
  (D) ii i iii iv
  Ans: A
66. In theatre production terminology, a “dry tech” rehearsal is when:
  a) all technical cues (light/sound) are run without actors
  b) full dress rehearsal
  c) improvisation only
  d) actor warm-up session
  Ans: a
67. In set design, a cyclorama serves primarily as:
  a) background surface for lighting or projections
  b) actor’s dressing room
  c) absorb sound only
  d) restrict actor movement
  Ans: a
68. Which term refers to a minimalist production where the focus is actor & audience with minimal technical distraction?
  a) Realistic naturalism
  b) Poor Theatre
  c) Musical theatre
  d) Grand opera
  Ans: b
69. In a proscenium theatre, the “legs” refer to:
  a) actor’s stage shoes
  b) vertical side curtains that mask wings from audience view
  c) blocks on stage floor
  d) audience brackets
  Ans: b
70. In costume design for a large thrust stage audience, costume details should be:
  a) very small and subtle
  b) bold, clear and high-contrast for visibility
  c) invisible
  d) exactly like film wardrobe
  Ans: b
71. Which element is least likely to be considered in theatre management budgeting?
  a) Set construction
  b) Costume purchase
  c) Lighting colour gels
  d) Actor’s internal psychological memo
  Ans: d
72. Which form of applied theatre emphasises performance for marginalized communities with participatory methods?
  a) Musical theatre
  b) Theatre of the Oppressed
  c) Stand-up comedy
  d) Classical Sanskrit dance-drama
  Ans: b
73. The “wings” of a proscenium stage refer to:
  a) parts of the fly loft
  b) side off-stage areas masked from audience view
  c) audience balconies
  d) control booth
  Ans: b
74. Which light fixture is ideal for a sharp-edged spotlight used for actor highlighting?
  a) Fresnel
  b) PAR Can
  c) ERS/Profile Spotlight
  d) Floodlight
  Ans: c
75. An example of stylised set design (rather than realistic) might be:
  a) Detailed Victorian living room
  b) Bare stage with simple geometric forms representing a forest
  c) Complete historical set of castle and moat
  d) Entire city street built on stage
  Ans: b
76. The term fly drop refers to:
  a) scenery piece flown in from above
  b) actor’s last line
  c) prop theft
  d) sound cue
  Ans: a
77. In match list: The area between the legs and borders in a proscenium stage is known as:
  a) Wings
  b) Backstage
  c) Apron
  d) Fly tower
  Ans: a
78. Which statement is true of a black box theatre?
  a) It has fixed seating only
  b) It is highly flexible in configuration of stage and audience
  c) It supports large traditional proscenium scenery
  d) It always uses arena seating
  Ans: b
79. In set design, masking flats are used to:
  a) hide lighting instruments
  b) cover wings and off-stage areas from public view
  c) mount actor names
  d) hold costumes
  Ans: b
80. Which theatre tradition uses a pine-tree backdrop (kagami-ita) as a symbolic element?
  a) Kabuki
  b) Sanskrit Natyagruha
  c) Noh theatre
  d) Peking Opera
  Ans: c
81. In applied theatre contexts, “facilitator” is often used instead of “director” because the focus shifts to:
  a) spectacle
  b) actor training alone
  c) audience participation and process over product
  d) lighting only
  Ans: c
82. Which of the following is a major function of sound design in theatre?
  a) Changing costume
  b) Reinforcing actor’s verbal delivery and ambient effects
  c) Dressing set flats
  d) Booking theatre rights
  Ans: b
83. Which type of theatre space is least suitable for elaborate fly scenery?
  a) Proscenium
  b) Thrust
  c) Arena
  d) Freestanding Roman stage
  Ans: c
84. The Sanskrit term abhinaya encompasses which of the following?
  a) Movement only
  b) Vocalisation only
  c) Gesture, speech, costume, and internal emotion
  d) Architectural design only
  Ans: c
85. Which role is usually responsible for coordinating set, costume, lighting and sound to align with production concept?
  a) Scenic artist
  b) Composer
  c) Director
  d) Wardrobe assistant
  Ans: c
86. The area known as the prompt corner in a theatre is where:
  a) Makeup is applied
  b) Stage manager controls cues and script prompt-books
  c) Audience enters
  d) Musicians play
  Ans: b
87. The theatre space dyed in black fabrics with movable seating is called:
  a) Proscenium theatre
  b) Black box theatre
  c) Roman amphitheatre
  d) Kabuki stage
  Ans: b
88. Which of the following is the correct sequence regarding the development of theatre architecture from earliest to later?
  a) Elizabethan → Greek → Roman → Proscenium
  b) Greek → Roman → Elizabethan → Proscenium
  c) Roman → Greek → Proscenium → Arena
  d) Proscenium → Roman → Greek → Thrust
  Ans: b
89. Which of the following theatre traditions features both actor and musician on the elevated stage surface rather than off to the side?
  a) Greek theatre
  b) Japanese Noh
  c) Kabuki
  d) Chinese Peking Opera
  Ans: d
90. In set design, the term cyclorama is most associated with:
  a) sound system
  b) a curved backdrop used for lighting or projection
  c) proscenium arch
  d) actor’s entrance
  Ans: b
91. The “lay-in” of flats, wings and borders is part of:
  a) actor’s homework
  b) stage technical rehearsal process
  c) costume rehearsal
  d) marketing strategy
  Ans: b
92. The “gala opening night” of a theatre season is primarily significant for:
  a) voucher distribution
  b) first public performance, press reviews, sponsorship visibility
  c) set strike
  d) actor training only
  Ans: b
93. In theatre budgeting, “contingency fund” is for:
  a) ticket sales only
  b) unexpected additional costs like repairs or delays
  c) costume changes only
  d) actor breaks
  Ans: b
94. Which stage configuration becomes problematic if extensive scenic wings and fly towers are required?
  a) Proscenium
  b) Arena
  c) Thrust
  d) Sanskrit Natyagruha
  Ans: b
95. In match: List I (Theatre Form) & List II (Characteristic): a) Sanskrit Natyagruha b) Rosa… (skip) c) Kabuki d) Black box. List II: i) minimal flexible space ii) runway for actor entry iii) elevated sacred stage with pine backdrop iv) rectangular ritual theatre. Codes: a b c d.
  Ans: a-iv, b-i, c-ii, d-i. Choose code accordingly.
  Ans Code: likely (A) – depending list offerings.
96. Which of the following is not a primary design consideration for children’s theatre?
  a) High seating tiers
  b) Bright visual elements
  c) Interactive staging
  d) Clear sightlines
  Ans: a
97. The design term “wash” in lighting refers to:
  a) sudden flash of lights
  b) even illumination over a broad area
  c) lighting from below only
  d) blackout period
  Ans: b
98. A good stage floor should ensure:
  a) no actor movement allowed
  b) safe, level surface with proper spring/resilience for movement and dance
  c) lighting fixture only
  d) audience seating only
  Ans: b
99. Which of the following best describes “black-box theatre”?
  a) Fixed proscenium arch with large fly-tower
  b) Small, flexible space with moveable seating permitting varied configurations
  c) Outdoor amphitheatre
  d) Volksstage with permanent fixed seats only
  Ans: b
100. The theatre form “Community Theatre” is characterised by:
  a) elite commercial musicals only
  b) local participation, vernacular performance, social issues focus
  c) purely classical repertory work
  d) film-based adaptation exclusively
  Ans: b
October 25, 2025
UGC NET Unit-6 Drama and Its Theories – MCQs – Performing Arts
Unit 6: Drama and Its Theories – Indian and Western for the UGC NET Performing Arts (Dance, Drama & Theatre) exam.
Each question reflects themes, terminology, playwrights and theoretical issues relevant to Indian and Western dramaturgy.
1. The term Natya in Indian dramaturgy primarily means:
  a) A ritual dance
  b) A mirror of life and emotions
  c) A musical concert
  d) A sculpture exhibition
  Answer: b) A mirror of life and emotions
2. According to the Natyasastra by Bharata Muni, which of the following is not one of the four types of Abhinaya?
  a) Āṅgika
  b) Vācika
  c) Drāmyika
  d) Sāttvika
  Answer: c) Drāmyika
3. The Western concept of drama as “imitation (mimesis) of an action” was advanced by:
  a) Zeami Motokiyo
  b) Aristotle
  c) Bertolt Brecht
  d) Henrik Ibsen
  Answer: b) Aristotle
4. The “Rasa” theory in Indian drama refers to:
  a) The dialogue of the hero
  b) The audience’s aesthetic experience
  c) The music of the play
  d) The costume design
  Answer: b) The audience’s aesthetic experience
5. In Western dramaturgy, which of these is not one of Aristotle’s six elements of drama?
  a) Plot (Mythos)
  b) Character (Ethos)
  c) Melody (Melos)
  d) Ritual (Ritmos)
  Answer: d) Ritual (Ritmos)
6. The Sanskrit dramatic form labelled as Nāṭaka typically deals with:
  a) Folk comedy
  b) Heroic/epic themes with high character status
  c) One-actor plays
  d) Satirical farce
  Answer: b) Heroic/epic themes with high character status
7. The Western dramatic classification of melodrama is characterised by:
  a) Subtle everyday realism
  b) Exaggerated emotions and moral polarisation
  c) Absurd dialogues and circular structure
  d) Ritualistic dance and chant
  Answer: b) Exaggerated emotions and moral polarisation
8. Which one of the following Indian dramatists is known for the play Mudrarakshasa?
  a) Kalidasa
  b) Bhasa
  c) Visakhadatta
  d) Bhavabhuti
  Answer: c) Visakhadatta
9. The Western dramatic movement focusing on everyday common-life situations and psychology is called:
  a) Realism
  b) Symbolism
  c) Expressionism
  d) Absurdism
  Answer: a) Realism
10. In the Indian dramaturgical tradition, Bhava refers to:
  a) The formal structure of the play
  b) The performers’ costumes
  c) The emotion or state that leads to Rasa
  d) The audience seating arrangement
  Answer: c) The emotion or state that leads to Rasa
11. Which Western playwright is considered the father of modern realistic drama and wrote A Doll’s House?
  a) Anton Chekhov
  b) Arthur Miller
  c) Henrik Ibsen
  d) Luigi Pirandello
  Answer: c) Henrik Ibsen
12. The dramatic form of farce is characterised by:
  a) Serious moral crisis
  b) Improvisation and broad humour, improbable situations
  c) Deep philosophical dialogue
  d) Ritualistic chanting
  Answer: b) Improvisation and broad humour, improbable situations
13. The Sanskrit dramatist of Mṛcchakatika (“The Little Clay Cart”) is:
  a) Bhavabhuti
  b) Bhasa
  c) Sudraka
  d) Visakhadatta
  Answer: c) Sudraka
14. Which one of these “‐isms” emphasises the distortion of reality to reflect inner emotional or psychological truth?
  a) Naturalism
  b) Realism
  c) Expressionism
  d) Epic Theatre
  Answer: c) Expressionism
15. In Western drama, the unity of time means:
  a) The action takes place in one location
  b) The action takes place within 24 hours (or a short time span)
  c) The play uses only one actor
  d) The music and dialogue are simultaneous
  Answer: b) The action takes place within 24 hours (or a short time span)
16. In the Indian dramatic classification, Prahasana refers to:
  a) Heroic epic play
  b) Satirical farce
  c) One-act romantic comedy
  d) Mythological spectacle
  Answer: b) Satirical farce
17. The Western playwright Bertolt Brecht is primarily associated with which theatrical approach?
  a) Realism
  b) Theatre of the Absurd
  c) Epic Theatre
  d) Naturalism
  Answer: c) Epic Theatre
18. The Sanskrit dramatist known for Uttararamacharita is:
  a) Kalidasa
  b) Bhavabhuti
  c) Bhasa
  d) Visakhadatta
  Answer: b) Bhavabhuti
19. The Western dramatic movement labelled Absurdism often presents:
  a) Linear cause-and-effect structure
  b) Ritual dance and chant
  c) Human existence as meaningless and cyclical, with minimal plot
  d) Strong moral polarisation and triumphant hero
  Answer: c) Human existence as meaningless and cyclical, with minimal plot
20. According to the Natyasastra, the Abhinaya known as Aharya refers to:
  a) Speech and song
  b) Gesture and movement
  c) Costume, make-up, scene-setting and props
  d) Inner emotional expression
  Answer: c) Costume, make-up, scene-setting and props
21. The concept of Catharsis in Western drama denotes:
  a) The aesthetic pleasure of Rasa
  b) The moral purification of the audience through pity and fear
  c) The symbolic representation of gods and spirit
  d) The comedic relief after tragedy
  Answer: b) The moral purification of the audience through pity and fear
22. The Sanskrit dramatist Bhasa’s Urubhanga deals with:
  a) The love story of Shakuntala
  b) The defeat of Duryodhana (in Mahabharata)
  c) The adventures of a forest hermit
  d) Court intrigue in ancient India
  Answer: b) The defeat of Duryodhana (in Mahabharata)
23. The Western dramatist Samuel Beckett is best known for which major play?
  a) The Cherry Orchard
  b) Waiting for Godot
  c) Death of a Salesman
  d) A Doll’s House
  Answer: b) Waiting for Godot
24. The Indian dramatic form Bhāna signifies:
  a) Multi-act heroic drama
  b) One-actor play
  c) Satirical farce for the masses
  d) Religious temple ritual
  Answer: b) One-actor play
25. The dramatic category Tragicomedy combines features of:
  a) Tragedy and farce
  b) Melodrama and epic theatre
  c) Tragedy and comedy
  d) Naturalism and symbolism
  Answer: c) Tragedy and comedy
26. The Western dramatist Anton Chekhov is associated with which dramatic approach?
  a) Melodrama
  b) Realism
  c) Farce
  d) Absurdism
  Answer: b) Realism
27. In Indian dramaturgy, which of the following is not a recognized Rasa?
  a) Śānta
  b) Adbhuta
  c) Vīra
  d) Idylla
  Answer: d) Idylla
28. The Western dramatist Luigi Pirandello explored themes of illusion and identity in his play Six Characters in Search of an Author. That play is often considered part of:
  a) Naturalism
  b) Epic Theatre
  c) Meta-theatre/Modernism
  d) Classical Greek tragedy
  Answer: c) Meta-theatre/Modernism
29. The Sanskrit dramatist known for Venisamhara is:
  a) Kalidasa
  b) Bhattanarayana
  c) Bhasa
  d) Bhavabhuti
  Answer: b) Bhattanarayana
30. The Western dramatic movement of Symbolism emphasises:
  a) Realistic depiction of everyday life
  b) Musical and dance spectacle
  c) Dream-like imagery and inner vision rather than external plot
  d) Political critique through alienation
  Answer: c) Dream-like imagery and inner vision rather than external plot
31. In the Indian dramaturgy framework, the mode Vācika Abhinaya refers to:
  a) Physical movement and gesture
  b) Costume and scenery
  c) Verbal expression (speech and dialogue)
  d) Inner emotion and mental state
  Answer: c) Verbal expression (speech and dialogue)
32. The Western dramatist William Shakespeare wrote Hamlet, King Lear and Othello, which are primarily examples of:
  a) Farce
  b) Comedy
  c) Tragedy
  d) Satire
  Answer: c) Tragedy
33. The Indian dramatic form Vyayoga is characterised by:
  a) Love and romance in one act
  b) Single-act heroic drama without female characters
  c) Mythological folk performance
  d) Temple ritual enactment
  Answer: b) Single-act heroic drama without female characters
34. The Western dramatic form where a hero suffers due to a tragic flaw (hamartia) is called:
  a) Comedy
  b) Tragedy
  c) Melodrama
  d) Farce
  Answer: b) Tragedy
35. Which of the following is NOT a feature of Epic Theatre (Brechtian)?
  a) Alienation effect (Verfremdung)
  b) Encouraging audience emotional identification with characters
  c) Use of narration, projections, song to interrupt illusion
  d) Social critique rather than catharsis
  Answer: b) Encouraging audience emotional identification with characters
36. The Sanskrit dramatist Kalidasa’s Abhijnanasakuntalam is best known for:
  a) Political intrigue
  b) Epic war scenes
  c) Court romance and poetic imagery
  d) Satirical comedy
  Answer: c) Court romance and poetic imagery
37. The Western dramatist Molière is primarily known for his contributions to:
  a) Greek tragedy
  b) French comedy of manners
  c) Italian opera
  d) German epic theatre
  Answer: b) French comedy of manners
38. The Indian dramaturgy mode Sāttvika Abhinaya deals with:
  a) Physical gestures
  b) Costume and scene-setting
  c) Inner emotional states and their expression
  d) Song and music
  Answer: c) Inner emotional states and their expression
39. The movement of Naturalism in Western drama is associated with:
  a) Abstract symbolism
  b) Scientific, deterministic presentation of life influenced by heredity and environment
  c) Mythological spectacle
  d) Musical theatre
  Answer: b) Scientific, deterministic presentation of life influenced by heredity and environment
40. In Western drama classification, which of these is an example of comedy?
  a) Oedipus Rex
  b) Tartuffe
  c) Death of a Salesman
  d) Waiting for Godot
  Answer: b) Tartuffe
41. The Sanskrit play Uttararamacharita dramatizes which mythological figure’s latter part of life?
  a) Rama
  b) Krishna
  c) Arjuna
  d) Yudhishthira
  Answer: a) Rama
42. The Western dramatist who wrote Death of a Salesman is:
  a) Arthur Miller
  b) Eugene O’Neill
  c) Henrik Ibsen
  d) Samuel Beckett
  Answer: a) Arthur Miller
43. The dramatic form Tragicomedy typically ends with:
  a) The death of the hero only
  b) Complete tragic ruin
  c) A mixture of serious crisis and comic resolution or hope
  d) Pure slapstick comic ending
  Answer: c) A mixture of serious crisis and comic resolution or hope
44. The Sanskrit dramatist Visakhadatta is best known for:
  a) Love-romance plays
  b) Social satire
  c) Political intrigue and historical drama
  d) Mythological dance pieces
  Answer: c) Political intrigue and historical drama
45. The Western dramatist known for The Bald Soprano and Rhinoceros is:
  a) Samuel Beckett
  b) Eugene Ionesco
  c) Luigi Pirandello
  d) Bertolt Brecht
  Answer: b) Eugene Ionesco
46. The Indian dramatic form Anka is usually:
  a) A short piece with religious or moral theme
  b) A five-act heroic drama
  c) A one-actor satire
  d) A farce with masked comedy
  Answer: a) A short piece with religious or moral theme
47. Which “ism” emphasises cyclical, meaningless existence, often minimal plot and dialogue?
  a) Realism
  b) Naturalism
  c) Absurdism
  d) Symbolism
  Answer: c) Absurdism
48. The Sanskrit dramatist Bhasa’s contribution is significant because:
  a) He purely used mythological gods without human beings
  b) He introduced realism and strong human emotion into Sanskrit drama
  c) He wrote only one act plays
  d) He composed musical operas
  Answer: b) He introduced realism and strong human emotion into Sanskrit drama
49. The Western playwright who pioneered meta-theatre and questions of author and character is:
  a) Anton Chekhov
  b) Luigi Pirandello
  c) Arthur Miller
  d) Henrik Ibsen
  Answer: b) Luigi Pirandello
50. The Sanskrit dramatic form Vyāyoga typically lacks:
  a) Heroic characters
  b) Female characters
  c) Music
  d) Moral lesson
  Answer: b) Female characters
51. The Indian dramatic element Vibhāva refers to:
  a) The physical expression of emotion
  b) The determinant or cause of emotion
  c) The costume and scene design
  d) The audience’s reaction
  Answer: b) The determinant or cause of emotion
52. In Western drama, the character of the protagonist’s flaw (hamartia) causes:
  a) Comedy
  b) Farce
  c) His/her downfall (in tragedy)
  d) A ritual dance
  Answer: c) His/her downfall (in tragedy)
53. The Western dramatist Anton Chekhov’s The Cherry Orchard is an example of:
  a) Melodrama
  b) Realist drama
  c) Classical Greek tragedy
  d) Epic theatre
  Answer: b) Realist drama
54. Which Indian dramatist wrote The Little Clay Cart (Mṛcchakatika) with its social realism and romance?
  a) Kalidasa
  b) Sudraka
  c) Bhavabhuti
  d) Visakhadatta
  Answer: b) Sudraka
55. The Western dramatic movement of Symbolism is often linked with which kind of theatrical style?
  a) Direct realistic depiction
  b) Mythology and spectacle only
  c) Suggestive imagery, mood, and inner meaning rather than linear action
  d) Pure comedic farce
  Answer: c) Suggestive imagery, mood, and inner meaning rather than linear action
56. The Sanskrit dramatist Bhavabhuti is noted for:
  a) Light-hearted satire
  b) Psychological depth and pathos in heroic tradition
  c) One-act comedies
  d) Folk dance plays
  Answer: b) Psychological depth and pathos in heroic tradition
57. The Western dramatist Bertolt Brecht’s technique of Verfremdungseffekt means:
  a) Complete illusion and audience identification
  b) Making the familiar strange so audience remains critical
  c) Pure comedic relief
  d) Escape-fantasy theatre
  Answer: b) Making the familiar strange so audience remains critical
58. The Indian dramatic mode of Angika Abhinaya refers to:
  a) Inner emotional experience
  b) Verbal expression
  c) Body movements, gesture, facial expressions
  d) Costume and adornment
  Answer: c) Body movements, gesture, facial expressions
59. The Western dramatic form of farce often uses which of these features?
  a) Deep philosophical reflection
  b) Minimal action
  c) Mistaken identities, rapid pace, humorous complications
  d) Ritual dance sequences
  Answer: c) Mistaken identities, rapid pace, humorous complications
60. The Sanskrit dramatist Kalidasa’s Vikramorvasiyam deals with:
  a) Mythological themes and high poetic style
  b) Social realism with middle-class characters
  c) Satire of court life
  d) Historical war scenes without romance
  Answer: a) Mythological themes and high poetic style
61. Which dramatic classification involves a “mixture of tragedy and comedy” and may not follow the rigid tragic ending?
  a) Melodrama
  b) Tragedy
  c) Comedy
  d) Tragicomedy
  Answer: d) Tragicomedy
62. In Indian dramaturgy, Anubhāva refers to:
  a) The costume and make-up
  b) The resultant expression of emotion (physical/behavioural manifestation)
  c) The mental attitude of the actor
  d) The audience’s delight
  Answer: b) The resultant expression of emotion (physical/behavioural manifestation)
63. The Western dramatist Molière’s The Misanthrope is an example of:
  a) Tragedy
  b) Melodrama
  c) Comedy
  d) Absurd theatre
  Answer: c) Comedy
64. The “ism” that presents theatre as a vehicle for social and political critique rather than escape is:
  a) Realism
  b) Naturalism
  c) Epic Theatre
  d) Symbolism
  Answer: c) Epic Theatre
65. The Sanskrit dramatist Battanarayana is best known for which play?
  a) Mṛcchakatika
  b) Venisamhara
  c) Abhijnanasakuntalam
  d) Uttararamacharita
  Answer: b) Venisamhara
66. The Western movement of Naturalism differs from Realism in that Naturalism:
  a) Uses myth only
  b) Emphasises determinate environment and heredity shaping human destiny
  c) Avoids social context entirely
  d) Focuses only on absurdity
  Answer: b) Emphasises determinate environment and heredity shaping human destiny
67. The Sanskrit dramatic form Samavakāra pertains to:
  a) Historical council debates
  b) Mythological spectacle with opulence
  c) Satirical comedy for peasants
  d) One-act romantic sketch
  Answer: b) Mythological spectacle with opulence
68. Which Western dramatist is renowned for the play The Caucasian Chalk Circle?
  a) Arthur Miller
  b) Eugene Ionesco
  c) Bertolt Brecht
  d) Anton Chekhov
  Answer: c) Bertolt Brecht
69. The Indian dramaturgical element Vyabhicharī Bhava refers to:
  a) The permanent primary emotion
  b) The mental state of the actor
  c) The transitory or fleeting emotions assisting the main feeling
  d) The physical gestures used on stage
  Answer: c) The transitory or fleeting emotions assisting the main feeling
70. The Western dramatist Eugene Ionesco’s Rhinoceros is considered part of which theatre movement?
  a) Realism
  b) Naturalism
  c) Absurdism
  d) Epic Theatre
  Answer: c) Absurdism
71. In Indian drama, the term Śṛṅgāra Rasa refers to which flavour?
  a) Heroic
  b) Fear
  c) Erotic/Love
  d) Disgust
  Answer: c) Erotic/Love
72. The Western dramatist Arthur Miller’s Death of a Salesman presents:
  a) Mythological heroism
  b) Aristocratic downfall
  c) Tragedy of the common man in a capitalist society
  d) Farcical comedy of errors
  Answer: c) Tragedy of the common man in a capitalist society
73. In Indian dramaturgy, Sāttvika Abhinaya is often called the “inner” expression because it deals with:
  a) Costume polishing and props
  b) The actor’s inner psychological states manifested in subtle physical signs
  c) Dialogue memorisation
  d) Music and rhythm only
  Answer: b) The actor’s inner psychological states manifested in subtle physical signs
74. The Western dramatic classification Comedy of Manners is best illustrated by:
  a) Molière’s plays
  b) Sophocles’ tragedies
  c) Brecht’s epic theatre
  d) Beckett’s absurd plays
  Answer: a) Molière’s plays
75. The Sanskrit playwright who introduced characters from non-elite classes, emphasising social realism, was:
  a) Kalidasa
  b) Vishakhadatta
  c) Sudraka
  d) Bhavabhuti
  Answer: c) Sudraka
76. The “alienation effect” in Epic Theatre aims to:
  a) Seduce audience emotionally
  b) Distance audience so that they think critically rather than empathise blindly
  c) Strengthen identification with the hero
  d) Use farce for escapism
  Answer: b) Distance audience so that they think critically rather than empathise blindly
77. Which one of the following is not among the Navarasa in Indian dramaturgy?
  a) Bībhatsa (Disgust)
  b) Hāsya (Laughter)
  c) Karuṇa (Compassion)
  d) Ego (Asmita)
  Answer: d) Ego (Asmita)
78. The Western dramatist who wrote Tartuffe exposing religious hypocrisy was:
  a) Shakespeare
  b) Molière
  c) Brecht
  d) Ionesco
  Answer: b) Molière
79. The Indian dramatic form Ihamrga focuses on:
  a) Temple ritual enactments
  b) Love and adventure
  c) Satirical folk performance
  d) Heroic war drama
  Answer: b) Love and adventure
80. The Western dramatic movement that rejects logic and uses absurd situations to represent existential angst is:
  a) Realism
  b) Naturalism
  c) Absurdism
  d) Symbolism
  Answer: c) Absurdism
81. The Sanskrit dramatist Kalidasa used poetic imagery and nature symbolism. His Malavikagnimitram centers around:
  a) A war between gods
  b) A romance in a court setting
  c) A farce of village life
  d) A puppet theatre piece
  Answer: b) A romance in a court setting
82. The Western dramatist whose works include The Doctor in Spite of Himself (a farce) is:
  a) Chekhov
  b) Molière
  c) Brecht
  d) Ionesco
  Answer: b) Molière
83. In Indian dramaturgy, the term Garbhā refers to which stage in the play structure?
  a) Opening
  b) Crisis or middle portion
  c) Conclusion
  d) Introductory invocation
  Answer: b) Crisis or middle portion
84. The Western dramatist known for his psychological realism and plays like The Seagull is:
  a) Ionesco
  b) Chekhov
  c) Pirandello
  d) Miller
  Answer: b) Chekhov
85. The Indian dramatic element Anubhāva is best described as:
  a) Costume design
  b) The actor’s physical or verbal manifestation of emotion
  c) The audience’s applause
  d) The scene change between acts
  Answer: b) The actor’s physical or verbal manifestation of emotion
86. The Western dramatic movement of Realism emerged in response to:
  a) Mythological spectacles
  b) Romanticism and melodrama
  c) Ritual dance theatre
  d) Farcical comedy
  Answer: b) Romanticism and melodrama
87. The Sanskrit dramatist known for his courtly poetic style and work Vikramorvasiyam is:
  a) Bhavabhuti
  b) Bhasa
  c) Kalidasa
  d) Battanarayana
  Answer: c) Kalidasa
88. The Western dramatic classification Tragedy ends typically with:
  a) A happy marriage
  b) Hero’s downfall or existential loss
  c) No plot resolution
  d) Pure comic confusion
  Answer: b) Hero’s downfall or existential loss
89. The “raghuvamsa” and “kumarasambhava” poet who also dramatized myth was:
  a) Vishakhadatta
  b) Kalidasa
  c) Bhavabhuti
  d) Sudraka
  Answer: b) Kalidasa
90. In Indian dramaturgy, the climactic phase of the drama, after the crisis and before the resolution, is called:
  a) Mukha
  b) Avamarsha
  c) Nirvahana
  d) Pratimukha
  Answer: b) Avamarsha
91. The Western dramatist who wrote Mother Courage and Her Children and utilised songs, projections and narration as techniques is:
  a) Arthur Miller
  b) Bertolt Brecht
  c) Eugene Ionesco
  d) Luigi Pirandello
  Answer: b) Bertolt Brecht
92. The Sanskrit dramatic form Bhāna often features:
  a) Multiple actors, large ensemble, mythological theme
  b) A single actor monologue with minimal stage – focused on a contemporary story
  c) Dance and mime only, no dialogue
  d) Shadow-puppet technique
  Answer: b) A single actor monologue with minimal stage – focused on a contemporary story
93. The Western “ism” that emphasises suggestion, mood, and symbol rather than direct representation is:
  a) Naturalism
  b) Realism
  c) Symbolism
  d) Epic Theatre
  Answer: c) Symbolism
94. The Sanskrit dramatist Sudraka’s work is notable because it:
  a) Strictly follows Vedic ritual
  b) Combines social realism, romance, and folk elements
  c) Uses only mythological gods
  d) Was written in Pali language
  Answer: b) Combines social realism, romance, and folk elements
95. The Western dramatic classification of melodrama typically includes:
  a) Complex psychological realism
  b) Comic, absurd scenarios
  c) Highly emotional situations, clear hero/villain lines, music cues
  d) Intertwined myths and dance rituals
  Answer: c) Highly emotional situations, clear hero/villain lines, music cues
96. The Indian concept of Moksha as a purpose of drama implies:
  a) Entertainment only
  b) Material wealth for actors
  c) Spiritual liberation or insight through aesthetic experience
  d) Political propaganda
  Answer: c) Spiritual liberation or insight through aesthetic experience
97. The Western dramatist Luigi Pirandello’s work explores above all:
  a) Heroic war themes
  b) Irony of identity and the boundary between reality and illusion
  c) Simple farce of village life
  d) Mythological gods’ interventions
  Answer: b) Irony of identity and the boundary between reality and illusion
98. The Sanskrit dramatist Bhavabhuti’s Malatimadhava is a play that emphasises:
  a) Satire of court life
  b) Mythological epic war scenes
  c) Romance combined with sorrow and spiritual themes
  d) Folk comedy only
  Answer: c) Romance combined with sorrow and spiritual themes
99. The Western dramatic movement that presents theatre as didactic and deliberately non-illusive is:
  a) Realism
  b) Naturalism
  c) Epic Theatre
  d) Farce
  Answer: c) Epic Theatre
100. The Indian dramaturgical concept Nirvahana refers to which part of the play?
  a) Introduction and invocation
  b) Crisis moment
  c) Falling action and final resolution or dénouement
  d) Chorus interlude
  Answer: c) Falling action and final resolution or dénouement
October 25, 2025
UGC NET Performing Arts Dance Drama Theatre Unit 1 MCQs
Below are 100 exam-style MCQs (with answers) focused on Unit 1 — Cultural History of India (prehistoric → CE 1200, visual evidence, Natyashastra concepts, Vedas, Ramayana, Mahabharata, Cilappadikaram, Bhagavata Purana, Bhakti & related performance traditions). Use them as a timed practice set — they follow UGC-NET format (4 options, one correct answer).
1. The Bhimbetka rock shelters primarily provide evidence of:
  A) Urban planning
  B) Prehistoric cave paintings of humans and animals
  C) Temple architecture
  D) Mauryan inscriptions
  Answer: B
2. The “Dancing Girl” figurine was discovered at:
  A) Harappa
  B) Mohenjo-Daro
  C) Lothal
  D) Dholavira
  Answer: B
3. Which Veda is most closely associated with early melodic chant and the basis of Indian music?
  A) Rigveda
  B) Samaveda
  C) Yajurveda
  D) Atharvaveda
  Answer: B
4. In Vedic ritual context, the term yajna primarily denotes:
  A) Court drama
  B) Sacrificial ritual often accompanied by chant and action
  C) Temple sculpture
  D) Folk storytelling
  Answer: B
5. Which text is called the “Fifth Veda” according to classical Indian theory of drama?
  A) Bhagavata Purana
  B) Natyashastra
  C) Mahabharata
  D) Ramayana
  Answer: B
6. According to the Nāṭyaśāstra, Natya was created by:
  A) Shiva
  B) Vishnu
  C) Brahma
  D) Indra
  Answer: C
7. The Nāṭyaśāstra synthesises the four Vedas into drama. Which Veda supplies the basis for Abhinaya (gesture)?
  A) Rigveda
  B) Samaveda
  C) Yajurveda
  D) Atharvaveda
  Answer: C
8. Rasa in Nāṭyaśāstra theory primarily denotes:
  A) A hand gesture
  B) A musical mode
  C) The aesthetic emotion tasted by the spectator
  D) A costume type
  Answer: C
9. How many principal Rasas are originally enumerated in Nāṭyaśāstra?
  A) Six
  B) Seven
  C) Eight
  D) Nine
  Answer: C
10. Which Rasa was later added (after Bharata) and emphasized by Abhinavagupta?
  A) Śṛṅgāra
  B) Hāsya
  C) Śānta
  D) Vīra
  Answer: C
11. Abhinaya has how many types according to Nāṭyaśāstra?
  A) Two
  B) Three
  C) Four
  D) Five
  Answer: C
12. Which of the following is NOT a type of abhinaya?
  A) Angika
  B) Vachika
  C) Aharya
  D) Laya
  Answer: D
13. Sattvika abhinaya primarily relates to:
  A) Costume
  B) Vocal music
  C) Inner involuntary feelings expressed physically
  D) Stage architecture
  Answer: C
14. Lokadharmi style refers to:
  A) Stylized, conventional acting
  B) Realistic, life-like acting
  C) Temple ritual only
  D) Dance without music
  Answer: B
15. Natyagruha in Nāṭyaśāstra denotes:
  A) Musical scale
  B) Theatre/playhouse architecture
  C) A kind of costume
  D) A dramatic genre
  Answer: B
16. Purvaranga vidhi describes:
  A) The finale scene of the play
  B) Pre-performance rituals and preliminaries
  C) The actor’s autobiography
  D) The chorus arrangement
  Answer: B
17. Karanas (as seen in temple sculpture) are:
  A) Musical instruments
  B) Fundamental units of movement combining hand and foot
  C) Stage props
  D) Types of plays
  Answer: B
18. Which temple site is famous for its sculptural representation of karanas?
  A) Konark
  B) Khajuraho
  C) Elephanta
  D) Sanchi
  Answer: B
19. Ajanta murals are primarily associated with which religious tradition?
  A) Hinduism
  B) Buddhism
  C) Jainism
  D) Islam
  Answer: B
20. The Cilappadikaram is a major classical epic from which linguistic tradition?
  A) Sanskrit
  B) Pali
  C) Tamil
  D) Prakrit
  Answer: C
21. The heroine Kannagi appears in which epic?
  A) Ramayana
  B) Cilappadikaram
  C) Mahabharata
  D) Bhagavata Purana
  Answer: B
22. Bhagavata Purana is most closely associated with narratives of:
  A) Rama only
  B) Krishna and his Raslila
  C) Shiva tandava
  D) Buddhist Jataka tales
  Answer: B
23. Raslila performance tradition primarily enacts episodes from:
  A) Ramayana
  B) Mahabharata
  C) Bhagavata Purana
  D) Cilappadikaram
  Answer: C
24. In Ramayana, who is regarded as the ideal hero (Nayaka) in performance traditions?
  A) Ravana
  B) Rama
  C) Hanuman
  D) Vibhishana
  Answer: B
25. Which Mahabharata episode is frequently enacted as a dramatic spectacle illustrating fate and dharma?
  A) Gita discourse only
  B) Yudhisthira’s dice game and Draupadi’s disrobing
  C) Abduction of Sita
  D) Krishna’s Raslila
  Answer: B
26. The Bhagavad Gita is located in which book of the Mahabharata?
  A) Adi Parva
  B) Sabha Parva
  C) Bhishma Parva (or BhG in Bhishma Parva)
  D) Sauptika Parva
  Answer: C
27. The Nāṭyaśāstra attributes Rasa arising from combination of:
  A) Gita + Nritya only
  B) Bhava + Vibhava + Anubhava + Vyabhicaribhava
  C) Costume + Music only
  D) Dialogue only
  Answer: B
28. Which scholar wrote an encyclopedic commentary Abhinavabharati on Nāṭyaśāstra?
  A) Bharata Muni
  B) Abhinavagupta
  C) Nandikeshvara
  D) Sarangadeva
  Answer: B
29. Abhinavagupta’s key contribution to Rasa theory was to see Rasa as:
  A) A social pastime
  B) Aestheticized spiritual bliss (transcendental experience)
  C) Pure entertainment
  D) Musical notation
  Answer: B
30. Which classical Tamil text contains explicit references to music and dance practice in an urban setting?
  A) Ramayana
  B) Manimekalai
  C) Cilappadikaram
  D) Mahabharata
  Answer: C
31. The Devadasi tradition is most closely linked historically with:
  A) Tibetan Buddhism
  B) South Indian temples and ritual dance practice
  C) Mughal court dance
  D) European opera
  Answer: B
32. Which of the following is an early example of narrative mural painting in India?
  A) Mughal miniatures
  B) Ajanta cave paintings
  C) Tanjore paintings (modern)
  D) Kalighat paintings
  Answer: B
33. In the evolution of Indian theatre, Natya served primarily for:
  A) Only royal entertainment
  B) Social education, ritual communication and aesthetic experience
  C) Trade negotiations
  D) Military training
  Answer: B
34. The Rigveda contributes primarily to which element in Nāṭyaśāstra synthesis?
  A) Gita (music)
  B) Pathya (speech/poetry) and meter (text)
  C) Abhinaya (gesture)
  D) Rasa (emotion)
  Answer: B
35. Which of the following Purāṇas is central to Vaishnava devotional theatre?
  A) Shiva Purana
  B) Bhagavata Purana
  C) Markandeya Purana
  D) Matsya Purana
  Answer: B
36. The representation of dance in stone (temple friezes) demonstrates which continuity?
  A) That dance was never a live art
  B) The codification of movement vocabulary (karanas, hasta) from text into visual form
  C) That sculpture replaced dance
  D) That all dances were secular
  Answer: B
37. Natyashastra’s chapter on Rasas is generally placed around which chapter number?
  A) Chapter 1
  B) Chapter 6 (approximately)
  C) Chapter 20
  D) Chapter 36
  Answer: B
38. Which text provides a detailed manual of gestures and mime often used by dancers?
  A) Sangita Ratnakara
  B) Abhinaya Darpana
  C) Ragamala
  D) Natya Parijat
  Answer: B
39. Abhinaya Darpana is traditionally attributed to:
  A) Bharata Muni
  B) Nandikeshvara (or Nandikeśvara)
  C) Kalidasa
  D) Abhinavagupta
  Answer: B
40. Which of the following dance forms traces its codified repertoire to temple ritual and bhakti tradition in Odisha?
  A) Bharatanatyam
  B) Odissi
  C) Kathakali
  D) Kathak
  Answer: B
41. The musical elements of early drama are most directly traced to which Veda?
  A) Atharvaveda
  B) Samaveda
  C) Rigveda
  D) Yajurveda
  Answer: B
42. The concept of Sahridaya denotes:
  A) A stage manager
  B) A sensitive spectator capable of experiencing Rasa
  C) A type of performer
  D) A musical instrument
  Answer: B
43. Which epic’s episodes form the basis of Ramleela performance tradition?
  A) Mahabharata
  B) Ramayana
  C) Bhagavata Purana
  D) Harivamsa
  Answer: B
44. Which of these is an example of medieval devotional theatre developed under Bhakti currents?
  A) Noh theatre
  B) Ramlila and Raslila
  C) Kabuki
  D) Commedia dell’arte
  Answer: B
45. Khajuraho sculptures belong broadly to which century range?
  A) 2nd–4th century CE
  B) 9th–12th century CE
  C) 15th–17th century CE
  D) 18th–19th century CE
  Answer: B
46. Which of the following is true about Mahabharata’s dramaturgical elements?
  A) It contains only poetry with no dramatic scenes
  B) It includes episodes with dialogue, scene structure and moral conflict used for dramatization
  C) It forbids performance of its episodes
  D) It is only a musical text
  Answer: B
47. The Nalopakhyana (story of Nala and Damayanti) in Mahabharata is often used in performance to exemplify:
  A) Courtly dance-display of conjugal love and tragedy (Shringara and Karuna rasas)
  B) Pure comic relief
  C) Military drill
  D) Agricultural ritual
  Answer: A
48. Which regional dramatic form prominently uses episodes from Bhagavata Purana?
  A) Yakshagana
  B) Kabuki
  C) Peking Opera
  D) Noh
  Answer: A
49. The sculpted image of Nataraja primarily represents which god?
  A) Vishnu
  B) Shiva as cosmic dancer
  C) Brahma
  D) Indra
  Answer: B
50. Which practice demonstrates the integration of ritual and performative elements in South India historically?
  A) Court theatre only
  B) Devadasi system (temple dancers as ritual performers)
  C) European ballet troupes
  D) Street theatre only
  Answer: B
51. The idea of art as a vehicle of moksha (liberation) is emphasized by which commentator?
  A) Bharata Muni
  B) Abhinavagupta
  C) Kalidasa
  D) Nandikeshvara
  Answer: B
52. Which Purana’s tenth skandha is the main source of Krishna’s life and Rasa episodes?
  A) Bhagavata Purana
  B) Vishnu Purana
  C) Shiva Purana
  D) Brahma Vaivarta Purana
  Answer: A
53. Which epic’s court scenes have been dramatized in the Indian theatre tradition as morality plays about governance?
  A) Iliad
  B) Mahabharata
  C) Beowulf
  D) Odyssey
  Answer: B
54. The term Nāṭya literally connotes:
  A) Silent painting
  B) Acting/drama (with elements of dance and music)
  C) Stone carving
  D) Royal decree
  Answer: B
55. Which classical work provides the earliest systematic treatment of acting, stagecraft and aesthetics?
  A) Sangita Ratnakara
  B) Natyashastra
  C) Abhinaya Darpana
  D) Rasamanjari
  Answer: B
56. Vyabhicaribhava are:
  A) Permanent dominant emotions
  B) Transitory/emergent emotions supporting Rasa
  C) Types of musical instruments
  D) Stage props
  Answer: B
57. Which of the following is a feature of Gupta period art important for performance studies?
  A) Decline of narrative art
  B) Refinement of human form and graceful postures in sculpture and painting
  C) Absence of music scenes
  D) Solely military motifs
  Answer: B
58. In Tamil performance tradition, Pann denotes:
  A) A costume type
  B) A melodic mode/scale system used in ancient Tamil music
  C) A dramatic genre
  D) A stage prop
  Answer: B
59. Which of the following is an early dramatized Purana episode in North India?
  A) Krishna’s childhood in Bhagavata Purana (Raslila)
  B) Sita’s marriage scene in Cilappadikaram
  C) Nala’s exile in Rigveda
  D) Buddha’s sermons in Yajurveda
  Answer: A
60. The term Sahrdaya is central to which aesthetic theorist’s commentaries?
  A) Kalidasa
  B) Abhinavagupta (and classical commentators)
  C) Tulsidas
  D) Bhartrihari
  Answer: B
61. Which archaeological site contains terracotta musicians and dancers indicating performance culture?
  A) Sanchi
  B) Harappa (Indus sites)
  C) Meenakshi temple
  D) Qutub Minar
  Answer: B
62. Ardhachandra poses in sculpture are associated with which art form?
  A) Architecture only
  B) Dance postures depicted in sculpture (classical movement vocabulary)
  C) Calligraphy
  D) Weaving
  Answer: B
63. Which of these is a primary reason epics were suitable for theatrical adaptation?
  A) Short length only
  B) Narrative structure, distinct characters, emotional arcs (rasas) and public familiarity
  C) Lack of moral complexity
  D) Absence of dialogues
  Answer: B
64. The Natyashastra emphasizes which function of theatre?
  A) Economic profit only
  B) Education, entertainment and spiritual uplift (Shiksha, Vihara, Moksha)
  C) Military instruction
  D) Political propaganda only
  Answer: B
65. Which dance form evolved historically in Assam out of Vaishnava devotional theatre?
  A) Bharatanatyam
  B) Sattriya
  C) Kathakali
  D) Kuchipudi
  Answer: B
66. Which of the following best describes the relationship between sculpture and performance in Indian art history?
  A) Sculpture replaces performance
  B) Sculpture records and codifies movement vocabulary and iconography used in live performance
  C) Sculpture rejects any link to performance
  D) Sculpture is only religious text
  Answer: B
67. Dasarupaka refers to:
  A) Ten types of plays described in classical dramaturgy
  B) Ten types of musical instruments
  C) Ten types of costumes
  D) Ten stages of life
  Answer: A
68. The concept of Sadharanikarana in Rasa theory denotes:
  A) Costume design
  B) Universalisation of emotion from individual to aesthetic experience
  C) A musical rhythm
  D) Stage lighting technique
  Answer: B
69. Which text is an important medieval source for music and performing arts (12th century)?
  A) Bharata Muni’s Natyashastra
  B) Sangita Ratnakara (Sarangadeva)
  C) Abhinaya Darpana
  D) Rasamanjari
  Answer: B
70. Which region’s folk theatre tradition is Yakshagana?
  A) West Bengal
  B) Karnataka (Coastal Karnataka)
  C) Tamil Nadu
  D) Assam
  Answer: B
71. The character Hanuman in Ramayana is often depicted in performance to embody which primary Rasa?
  A) Hasya only
  B) Vira (heroism/devotion) and Karuna in moments of pity
  C) Bhayanaka
  D) Bibhatsa
  Answer: B
72. In the Mahabharata, which character’s ethical crisis is central to many dramatic adaptations?
  A) Bhima
  B) Yudhishthira (dice episode and exile)
  C) Shakuni only
  D) Drona only
  Answer: B
73. Which Purana contains extensive theistic stories that became stage repertory for Vaishnava performances?
  A) Shiva Purana
  B) Bhagavata Purana
  C) Agni Purana
  D) Garuda Purana
  Answer: B
74. Abhinaya Darpana provides detailed classification of:
  A) Stage architecture only
  B) Hand gestures (Hasta), head, eyes movements, and expressions used in dance-drama
  C) Musical scales only
  D) Costume patterns only
  Answer: B
75. Which movement emphasized personal devotion and had a profound effect on vernacular performance?
  A) Tantra only
  B) Bhakti movement
  C) Hellenistic movement
  D) Renaissance movement
  Answer: B
76. The Pattabhisheka episode (coronation) of Rama is categorized in performances often as exemplifying:
  A) Hasya Rasa
  B) Vira and Santa (heroic and peaceful) Rasas
  C) Bibhatsa only
  D) Bhayanaka only
  Answer: B
77. Which of the following is NOT a source for reconstructing ancient performance practices?
  A) Rock-art and cave paintings
  B) Temple sculpture and reliefs
  C) Contemporary newspaper reports from prehistoric era
  D) Literary texts (Vedas, epics, treatises)
  Answer: C
78. The term Angika literally refers to:
  A) Instrumental music
  B) Body/physical expression in performance
  C) Vocal recitation
  D) Stage management
  Answer: B
79. Rasotpatti refers to:
  A) The process of Rasa emergence and realisation in the audience
  B) A costume type
  C) A temple architecture style
  D) A musical instrument
  Answer: A
80. Which South Indian classical dance’s repertoire historically includes items derived from temple rituals and textual prescriptions?
  A) Odissi only
  B) Bharatanatyam (with temple origins)
  C) Ballet
  D) Flamenco
  Answer: B
81. In Mahabharata dramaturgy, who is primarily associated with strategic deception that is often staged dramatically?
  A) Vidura
  B) Shakuni (dice manipulator)
  C) Satyaki
  D) Yuyutsu
  Answer: B
82. The earliest tangible visual evidence for performance in India is dated to roughly:
  A) 20th century CE
  B) Neolithic/Chalcolithic and prehistoric periods (Bhimbetka, Indus)
  C) 15th century CE
  D) 5th century CE only
  Answer: B
83. Hasyarasa corresponds to which dominant actor/audience reaction?
  A) Sorrow
  B) Laughter and comic delight
  C) Fear
  D) Disgust
  Answer: B
84. Which classical text prescribes stage types and audience arrangements (kakshya vibhag etc.)?
  A) Sangita Ratnakara
  B) Natyashastra
  C) Abhinava Bharati
  D) Cilappadikaram
  Answer: B
85. The tradition of Ramlila primarily belongs to which cultural practice?
  A) Court ballet
  B) Folk/community theatrical enactment of Ramayana episodes during festivals
  C) Buddhist monastic chanting
  D) Persian miniature theatre
  Answer: B
86. The representation of Nataraja at Chidambaram symbolizes:
  A) Agricultural ritual
  B) Cosmic dance of creation, preservation and dissolution
  C) Royal coronation only
  D) Market ritual
  Answer: B
87. Which form of evidence helps trace the musical instruments used in early Indian performance?
  A) Literary descriptions, sculptural reliefs and terracotta/bronze finds
  B) Photographs from prehistoric times
  C) European traveler accounts before 1000 BCE
  D) None of the above
  Answer: A
88. The Dasarupaka classification is concerned with:
  A) Ten types of Rasa only
  B) Ten types of plays/dramatic genres in classical dramaturgy
  C) Ten musical modes
  D) Ten temple types
  Answer: B
89. Bhakti poetry turned many narratives into performable songs called:
  A) Shlokas only for reading
  B) Kirtans and Bhajans (sung and often enacted)
  C) Philosophical tracts only
  D) Legal codes
  Answer: B
90. Which text is considered a bridge between textual theory and practical gesture (widely used by dancers)?
  A) Natyashastra only
  B) Abhinaya Darpana (practical manual of gesture)
  C) Ramayana only
  D) Mahabharata only
  Answer: B
91. Which of the following is a hallmark of Gupta period dramaturgy and aesthetics?
  A) Baroque excess
  B) Refinement, idealized human form and codified bhavas in art and literature
  C) Decline of narrative forms
  D) Complete secularization of art
  Answer: B
92. The Anubhava in Rasa theory means:
  A) Cause of an emotion
  B) Manifested/expressed effect or external signs of emotion (observable)
  C) A musical rhythm
  D) A dramatic genre
  Answer: B
93. Which region developed Kathakali, heavily influenced by Kerala temple and ritual traditions?
  A) Maharashtra
  B) Kerala
  C) Assam
  D) Punjab
  Answer: B
94. Which epic character’s exile narrative has been a major source for performative enactment and moral discourse?
  A) Arjuna only
  B) Rama (Ramayana) and Pandavas (Mahabharata) both (exile episodes staged widely)
  C) Ravana only
  D) Krishna only
  Answer: B
95. Dharma as dramatized in epics often functions to:
  A) Provide purely comic entertainment
  B) Pose ethical dilemmas and instruct audiences through enacted outcomes
  C) Propagate only royal decrees
  D) Avoid moral questions
  Answer: B
96. Temple dance sculptures often served as:
  A) Manuals for performers and visual codification of movement vocabulary
  B) Mere decoration without functional value
  C) Records of agriculture
  D) Military manuals
  Answer: A
97. Which classical commentator emphasized the role of the ‘Sahridaya’ (sensitive viewer) in experiencing Rasa?
  A) Bharata Muni
  B) Abhinavagupta
  C) Kalidasa
  D) Tulsidas
  Answer: B
98. The evolution from folk ritual to classical codified forms typically involved:
  A) Total discontinuity with folk forms
  B) Gradual institutionalization, codification, and textualization of movement/music/gesture
  C) Immediate replacement by foreign forms
  D) Only oral transmission with no texts
  Answer: B
99. Natyashastra’s treatment of stagecraft includes specification for:
  A) Only actor’s costumes
  B) Theatre dimensions, audience divisions, prologue conventions (Nandi/Kakshya), and stage devices
  C) Only music composition
  D) Only poetic meters
  Answer: B
100. The integration of epic narrative with dance and theatre achieves which classical function in Indian society?
  A) Entertainment alone
  B) Moral instruction, communal bonding, and spiritual uplift (multi-functional role)
  C) Solely economic gain
  D) Only private enjoyment of elites
  Answer: B
October 24, 2025
UGC NET Performing Arts Dance Drama Theatre Unit 1
Cultural History of India (From Prehistoric Period to CE 1200)

(With special focus on Vedas, Epics and Purāṇas in relation to Dance & Theatre)

1. Introduction

The cultural history of India represents one of the world’s longest and most continuous artistic traditions. From the rhythmic cave paintings of the Stone Age to the codified classical arts of the early medieval period, India’s aesthetic growth mirrors its spiritual and social evolution. Between the Prehistoric era and CE 1200, Indian culture developed through the integration of ritual, religion, philosophy, and performance.
Art was never separate from life; it was a vehicle of moral reflection, social harmony, and divine realization. The Nāṭyaśāstra describes this unity as “loka anukṛti”— the imitation and interpretation of life itself.

2. Cultures of India: From Prehistoric to CE 1200

Prehistoric Foundations

The Bhimbetka rock shelters (c. 7000 BCE) in Madhya Pradesh preserve the earliest evidence of human artistic expression in India. Painted scenes of hunting, communal dancing, and rhythmic movement indicate that ritual, rhythm, and gesture pre-dated language. These primal forms later evolved into organized performance.

Indus Valley Civilization (c. 2500 – 1500 BCE)

The urban centres of Harappa and Mohenjo-Daro reveal a society with aesthetic sophistication. The famous “Dancing Girl” bronze figurine embodies fluid posture and confidence, while terracotta musicians and seals reflect a ritualistic, rhythmic life. The arts already served a symbolic, possibly sacred purpose.

Vedic Age (1500 – 500 BCE)

During the Vedic period, art became intertwined with religious ritual and oral tradition. The Sāmaveda systematised chant and melody; the Yajurveda formalised ritual performance; the Ṛgveda celebrated cosmic rhythm through hymns; and the Atharvaveda explored mystic incantations. The performing arts thus originated as sacred actions— a union of music, recitation, and gesture offered to the divine.

Classical and Gupta Age (4th – 6th century CE)

The Gupta era is remembered as the “Golden Age” of Indian art. Literary works such as Kālidāsa’s Abhijñānaśākuntalamand the Ajanta murals exemplify the refinement of aesthetic theory, proportion, and grace. Art evolved from ritual to classical codification: sculptures illustrated dance poses (karanas), and literature articulated the principles of Rasa and Abhinaya.

Early Medieval Period (7th – 12th century CE)

Regionalisation of culture led to distinct temple and devotional traditions. The Bhakti spirit fostered temple-centred performance— Bharatanāṭyam in Tamil Nadu, Odissi in Odisha, Kūḍiyāṭṭam in Kerala— all deriving from the aesthetic and ritual frameworks laid down in the earlier centuries.

3. Evolution of Art: Cave Paintings, Sculpture, and Visual Representation

Indian art evolved as a visual scripture of the civilization’s spiritual ideals.
- Cave Paintings: Bhimbetka and Ajanta reveal continuity from primitive outline to sophisticated narrative. Ajanta (2nd BCE – 6th CE) murals show elegant dancers, musicians, and courtly scenes inspired by Jātaka tales— proof of early dramaturgy through visual imagery.
- Sculpture: From Mauryan pillars to Gupta temple reliefs, sculpture captured rhythm and emotion in static form. The Yaksha–Yakshi figures express fertility and grace, while the Khajuraho and Konark temples translate movement into stone— a “frozen performance.”
- Architecture: Theatre architecture described in the Nāṭyaśāstra— open, circular, and audience-centred— influenced later temple courtyards that served as stages for ritual performances.
Thus, visual art, music, and drama developed together, each reinforcing the other in a unified aesthetic vision.

4. Evolution of Dance and Drama (Nāṭya)

(a) Divine-Origin Theory

According to the Nāṭyaśāstra (c. 200 BCE – 200 CE), Nāṭya originated when the gods requested Brahmā to create an art form accessible to all varṇas. He composed the Nāṭya Veda, drawing:
- Speech (Pathya) from Ṛgveda,
- Music (Gīta) from Sāmaveda,
- Gesture (Abhinaya) from Yajurveda, and
- Emotion (Rasa) from Atharvaveda.
Thus, Nāṭya became the “Fifth Veda.” Its purpose was śikṣā (education), vihāra (entertainment), and mokṣa (spiritual release). Art was divine in origin but meant for human upliftment.

(b) Art as a Product of Society and Ritual

Parallel to the divine theory runs a sociological view: art evolved from communal ritual and belief systems. Agricultural festivals, fertility rites, and heroic storytelling led to folk theatre and sacred dance. Over time, these merged with philosophical reflection to form classical theatre— both a social mirror and a spiritual discipline.

5. The Vedas, Epics, and Purāṇas — Content, Character, and Relevance to Dance & Theatre

This corpus forms the conceptual and narrative foundation of Indian performing arts.

The Vedas: The Earliest Aesthetic Blueprint
- Ṛgveda: Collection of hymns celebrating natural forces— the idea of cosmic rhythm (ṛta) that later informed the rhythm (tāla) of dance and music.
- Sāmaveda: The “Veda of melody,” transforming recited hymns into musical performance. The tonal patterns of sāman chants evolved into the structure of rāga and nāda.
- Yajurveda: Describes sacrificial rites involving precise bodily actions and gestures— precursors of Āṅgika Abhinaya.
- Atharvaveda: Explores emotional and mystical incantations, forming the psychological dimension of Rasa and Bhāva.
Together they provide the spiritual grammar of Indian art— linking sound, gesture, and emotion with cosmic order.

The Epics: Ramayana & Mahabharata

Ramayana (Valmiki, c. 500 BCE – 100 BCE)

The Ramayana is both moral narrative and performative text. Its content— Rama’s exile, Sita’s trial, the battle with Ravana, and the Pattābhisheka (coronation)— is inherently dramatic. Character archetypes (Rama – ideal hero, Sita – purity, Hanuman – devotion, Ravana – ego) embody distinct Rasas: Vīra, Karuṇa, Śṛṅgāra, Raudra.
In theatre and dance, these episodes translate into expressive acts: Rāmlīlā in North India, Kathakali’s Rāma Charita, and Bhavāyā performances. The text teaches Dharma through spectacle, bridging ethics and aesthetics.

Mahabharata (Vyāsa, c. 400 BCE – 400 CE)

The Mahabharata, the world’s longest epic, dramatizes the conflict between duty and desire. It is structurally theatrical: dialogues, moral debates, and battle scenes read like scripted acts. The Dyūta Sabha (dice game) and Draupadī Vastra-harana (disrobing) are archetypal scenes of Karuṇa and Raudra Rasas. The Bhagavad Gītā, a philosophical dialogue between Krishna and Arjuna, represents the drama of consciousness itself.
These episodes became templates for classical dramaturgy, influencing Nāṭaka (heroic play) and Prakaraṇa (social play) genres described in the Nāṭyaśāstra. The Mahabharata’s emphasis on moral complexity underlies the layered emotional structure of Indian theatre.

Regional Epic: Cilappadikaram (Tamil, c. 2nd Century CE)

Composed by Ilango Adigal, the Cilappadikaram (“The Jeweled Anklet”) integrates music, dance, and ethics. Its heroine Kannagi, wronged by the king, proves her virtue through dramatic and ritualistic acts culminating in divine justice. The text contains detailed accounts of:
- Pann music (Tamil scale systems),
- Rhythmic cycles (tāla),
- Performer’s discipline and moral codes.
  It is thus both a literary epic and a practical manual of performance, paralleling the Nāṭyaśāstra in southern aesthetic theory. Many classical Tamil dance postures trace their lineage to its descriptions.
Bhagavata Purāṇa (c. 9th Century CE)

The Bhagavata Purāṇa shifted focus from heroic dharma to devotional emotion (Bhakti). Its tenth book narrates the life of Krishna— his childhood pranks, flute-playing, and Rāsa Līlā with the Gopīs. These episodes symbolise the soul’s union with the divine and gave rise to devotional dance-dramas across India: Rāslīlā in Braj, Sattriya in Assam, Manipuri Rāsa, and aspects of Kathak.
The Purāṇa thus transformed art into devotion in motion, replacing ritual authority with emotional communion.

Relevance to Dance and Theatre
1. Narrative Source: The epics and Purāṇas supply stories, characters, and archetypes that constitute the repertory of Indian theatre and dance.
2. Emotional Spectrum: Each episode corresponds to specific Rasas, making them ideal for expressive performance.
3. Didactic Function: Through enactment of divine tales, the audience learns moral and spiritual lessons— fulfilling the triple aim of śikṣā, vihāra, and mokṣa.
4. Continuity: From temple sculptures to modern stage, these texts continue to animate Indian performance— proof of an unbroken cultural thread.
6. Bhakti and Religious Movements (6th – 12th Century CE)

The Bhakti movement redefined the purpose of art as devotional expression rather than ritual duty. The Alvārs (Vishnu devotees) and Nāyanmārs (Shiva devotees) composed hymns in local languages, democratising access to divine experience. Their songs were inherently performative— sung with gesture, dance, and communal participation.

In South India, temple dancers (devadāsīs) offered seva through nṛtta and abhinaya; in the North, Rāslīlā and Rāmlīlādramatized the love of Krishna and the virtue of Rama. The saints Mīrābāī and Chaitanya embodied dance as worship, fusing emotion (bhāva) with movement.

These movements influenced all art forms:
- Bharatanāṭyam and Odissi absorbed Bhakti poetry;
- Kīrtan and Bhajan became musical theatre;
- Yakṣagāna and Ankīya Nāṭa integrated narrative chanting and dance.
Through Bhakti, performance became collective prayer, turning temples and streets into theatres of divine love.

7. Conclusion

From the prehistoric rock-dance of Bhimbetka to the spiritual theatre of Bhakti, India’s cultural history demonstrates a continuous quest to express truth through beauty. The Vedas provided the metaphysical framework, the Epics and Purāṇas supplied narrative and emotion, and the Nāṭyaśāstra gave form and theory.
By CE 1200, India had created a comprehensive aesthetic system where art mirrored life, and life itself became performance. Dance and theatre were not merely entertainment—they were manifestations of cosmic order and vehicles of self-realization.
October 24, 2025