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PERFORMING ARTS -320 
2 | P a g e 
 
 
 
 
 
 
 
 
 
 
Section A: DANCE 
A1: KATHAK 
 
 
1. A brief history of other dance styles of India. 
 
2. A Basic understanding of the term ABHINAYA and definition of its four aspects: angika, 
vachika, aharya, and satvika. 
3. Acquaintance of the three gharanas of Kathak dance (Lucknow, Jaipur, Banaras) 
 
4. Rasa: definition and explanation of nine rasas. 
 
5. Knowledge of the following terms: (short note) sangeet, tal, laya, angahara,  bhramari, 
lokadharmi, natyadharmi, rasa, and bhava. 
6. Knowledge of the technical terminology of the dance form. 
a) Definition of the following: 
i) Vandana 
ii) Tihaayi 
iii) Aamad 
iv) Toda/Tukraa 
v) Paran 
vi) Chakardar Toda /Tukraa andParan 
vii) Gatnikas 
viii) Gatbhaav 
b) Knowledge of Theka of Dadra, Kaharwa, Roopak, Jhap Taal, Teen Taal 
c) Definition of Tali, Khali, Sam, Tihaayi. 
d) Ability to notate a Tukraa/Toda and Paran. 
 
Acquaintance with the traditional costumes and makeup. 
 
A2: BHARATANATYAM DANCE 
1. Acquaintance with the life history of the chief exponents and contributors of the past Dance form. (Rukmini 
Devi Arundale, Bala saraswati, Meenakshi Sundaram Pillai, Tanjorequartette) 
2. Acquaintance with the contents of the Abhinaya Darpana. (The chapters and the aspects of dance dealt 
within them). 
3. Knowledge of the following terms: 
 
(i) Nritta, Nritya, Natya (Sanskrit slokas from the Abhinaya Darpana and basic definition) Tandava (7 
tandavas with detailed stories) Lasya, Lokadharmi, Natyadharmi (Definitions with example) 
(ii) Sthana, Chari, Mandala, Bhrarmari, Utplavana (Slokas and meaning from Abhinaya Darpana) 
Note:  
There will be one Question Paper which will have 50 questions out of which 40 questions need to be 
attempted. 
There will be three Sections i.e. Section A (Dance), Section B (Drama-Theatre), and Section C (Music). 
Candidates may choose any Section. And From Section A and Section C, only one sub-section needs to be 
chosen. 
 
 
Page 2


PERFORMING ARTS -320 
2 | P a g e 
 
 
 
 
 
 
 
 
 
 
Section A: DANCE 
A1: KATHAK 
 
 
1. A brief history of other dance styles of India. 
 
2. A Basic understanding of the term ABHINAYA and definition of its four aspects: angika, 
vachika, aharya, and satvika. 
3. Acquaintance of the three gharanas of Kathak dance (Lucknow, Jaipur, Banaras) 
 
4. Rasa: definition and explanation of nine rasas. 
 
5. Knowledge of the following terms: (short note) sangeet, tal, laya, angahara,  bhramari, 
lokadharmi, natyadharmi, rasa, and bhava. 
6. Knowledge of the technical terminology of the dance form. 
a) Definition of the following: 
i) Vandana 
ii) Tihaayi 
iii) Aamad 
iv) Toda/Tukraa 
v) Paran 
vi) Chakardar Toda /Tukraa andParan 
vii) Gatnikas 
viii) Gatbhaav 
b) Knowledge of Theka of Dadra, Kaharwa, Roopak, Jhap Taal, Teen Taal 
c) Definition of Tali, Khali, Sam, Tihaayi. 
d) Ability to notate a Tukraa/Toda and Paran. 
 
Acquaintance with the traditional costumes and makeup. 
 
A2: BHARATANATYAM DANCE 
1. Acquaintance with the life history of the chief exponents and contributors of the past Dance form. (Rukmini 
Devi Arundale, Bala saraswati, Meenakshi Sundaram Pillai, Tanjorequartette) 
2. Acquaintance with the contents of the Abhinaya Darpana. (The chapters and the aspects of dance dealt 
within them). 
3. Knowledge of the following terms: 
 
(i) Nritta, Nritya, Natya (Sanskrit slokas from the Abhinaya Darpana and basic definition) Tandava (7 
tandavas with detailed stories) Lasya, Lokadharmi, Natyadharmi (Definitions with example) 
(ii) Sthana, Chari, Mandala, Bhrarmari, Utplavana (Slokas and meaning from Abhinaya Darpana) 
Note:  
There will be one Question Paper which will have 50 questions out of which 40 questions need to be 
attempted. 
There will be three Sections i.e. Section A (Dance), Section B (Drama-Theatre), and Section C (Music). 
Candidates may choose any Section. And From Section A and Section C, only one sub-section needs to be 
chosen. 
 
 
PERFORMING ARTS -320 
3 | P a g e 
 
(iii) Abhinaya (Angika, Vachika, Satvika, Aharya-slokas from the Abhinaya Darpana along with the 
meaning) 
(iv) Sangeeta, Tala, Laya (Definition of the term, seven teams, three ways) 
(v) Rasa (names of the nine races and their English meanings) 
4. Knowledge of the technical terminology of the particular Dance form (anyone to be studied by the Dance 
style offered)- 
(a) Definitions of the following: araimandi, muzhumandi, kuttanam, korvai, karvai, adavu, 
shollu, aradhi, theerumanam, jati, jaati, gati, avartana, yati, taalanga, thattukazhi, 
nattuvangam,arangetram) 
 
5. Acquaintance with the traditional costumes makes up the Dance style opted. 
 
 
A3: KUCHIPUDI DANCE 
 
1. A brief history and acquaintance with some traditional dance forms of the region, other than the one 
offered for study. 
 
2. Acquaintance with the life history of the chief exponents of the dance form, past, and present. 
 
 
3. Knowledge of the following  terms: 
(i) Nritta, Nritya, Natya, Tandava, Lasya, Lokadharmi,Natyadharmi 
(ii) Chaturvidha Abhinaya (Angika, Vachika, Satyika, Aharya) with special reference to Mukhaja 
Abhinaya. 
(iii) Sanchari Bhava, Sattvika Bhava 
 
4. Types of compositions and formats used in Kuchipudi Definitions of the following: 
(a) Rangapuja, Shabdam,Ashthapadi, Kalaapam, (Bhaama Kalaapam,     Golla Kalaapam). 
 
A4: ODISSI DANCE 
 
1. Elementary knowledge about the three styles of Chhau: Mayurbhanj, Seraikella, and Purulia. 
2. Brief notes on the lives and contributions of the three Gurus: Guru Pankaj Charan   Das, Guru Kelucharan 
Mohapatra, and Guru Deba Prasad Das. 
3. Elementary introduction to the texts; Natya Shastra, Abhinaya Darpana, and Abhinaya Chandrika: a) 
Identification of the author (approximate date) b) Basic overview of the broad areas covered in the 
context of each text. c) Myths regarding the origin of dance according to each text. 
4. A Basic understanding of the term ABHINAYA and definition of its four aspects: Angika, Vatika, 
Acharya, and sattvik. 
5. Rasa: Definition and a short explanation of the ninerasas. 
 
6. Short notes on: 
 
a) The Acharyaa of Odissi. 
 
b) The music accompaniment of Odissi. 
 
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PERFORMING ARTS -320 
2 | P a g e 
 
 
 
 
 
 
 
 
 
 
Section A: DANCE 
A1: KATHAK 
 
 
1. A brief history of other dance styles of India. 
 
2. A Basic understanding of the term ABHINAYA and definition of its four aspects: angika, 
vachika, aharya, and satvika. 
3. Acquaintance of the three gharanas of Kathak dance (Lucknow, Jaipur, Banaras) 
 
4. Rasa: definition and explanation of nine rasas. 
 
5. Knowledge of the following terms: (short note) sangeet, tal, laya, angahara,  bhramari, 
lokadharmi, natyadharmi, rasa, and bhava. 
6. Knowledge of the technical terminology of the dance form. 
a) Definition of the following: 
i) Vandana 
ii) Tihaayi 
iii) Aamad 
iv) Toda/Tukraa 
v) Paran 
vi) Chakardar Toda /Tukraa andParan 
vii) Gatnikas 
viii) Gatbhaav 
b) Knowledge of Theka of Dadra, Kaharwa, Roopak, Jhap Taal, Teen Taal 
c) Definition of Tali, Khali, Sam, Tihaayi. 
d) Ability to notate a Tukraa/Toda and Paran. 
 
Acquaintance with the traditional costumes and makeup. 
 
A2: BHARATANATYAM DANCE 
1. Acquaintance with the life history of the chief exponents and contributors of the past Dance form. (Rukmini 
Devi Arundale, Bala saraswati, Meenakshi Sundaram Pillai, Tanjorequartette) 
2. Acquaintance with the contents of the Abhinaya Darpana. (The chapters and the aspects of dance dealt 
within them). 
3. Knowledge of the following terms: 
 
(i) Nritta, Nritya, Natya (Sanskrit slokas from the Abhinaya Darpana and basic definition) Tandava (7 
tandavas with detailed stories) Lasya, Lokadharmi, Natyadharmi (Definitions with example) 
(ii) Sthana, Chari, Mandala, Bhrarmari, Utplavana (Slokas and meaning from Abhinaya Darpana) 
Note:  
There will be one Question Paper which will have 50 questions out of which 40 questions need to be 
attempted. 
There will be three Sections i.e. Section A (Dance), Section B (Drama-Theatre), and Section C (Music). 
Candidates may choose any Section. And From Section A and Section C, only one sub-section needs to be 
chosen. 
 
 
PERFORMING ARTS -320 
3 | P a g e 
 
(iii) Abhinaya (Angika, Vachika, Satvika, Aharya-slokas from the Abhinaya Darpana along with the 
meaning) 
(iv) Sangeeta, Tala, Laya (Definition of the term, seven teams, three ways) 
(v) Rasa (names of the nine races and their English meanings) 
4. Knowledge of the technical terminology of the particular Dance form (anyone to be studied by the Dance 
style offered)- 
(a) Definitions of the following: araimandi, muzhumandi, kuttanam, korvai, karvai, adavu, 
shollu, aradhi, theerumanam, jati, jaati, gati, avartana, yati, taalanga, thattukazhi, 
nattuvangam,arangetram) 
 
5. Acquaintance with the traditional costumes makes up the Dance style opted. 
 
 
A3: KUCHIPUDI DANCE 
 
1. A brief history and acquaintance with some traditional dance forms of the region, other than the one 
offered for study. 
 
2. Acquaintance with the life history of the chief exponents of the dance form, past, and present. 
 
 
3. Knowledge of the following  terms: 
(i) Nritta, Nritya, Natya, Tandava, Lasya, Lokadharmi,Natyadharmi 
(ii) Chaturvidha Abhinaya (Angika, Vachika, Satyika, Aharya) with special reference to Mukhaja 
Abhinaya. 
(iii) Sanchari Bhava, Sattvika Bhava 
 
4. Types of compositions and formats used in Kuchipudi Definitions of the following: 
(a) Rangapuja, Shabdam,Ashthapadi, Kalaapam, (Bhaama Kalaapam,     Golla Kalaapam). 
 
A4: ODISSI DANCE 
 
1. Elementary knowledge about the three styles of Chhau: Mayurbhanj, Seraikella, and Purulia. 
2. Brief notes on the lives and contributions of the three Gurus: Guru Pankaj Charan   Das, Guru Kelucharan 
Mohapatra, and Guru Deba Prasad Das. 
3. Elementary introduction to the texts; Natya Shastra, Abhinaya Darpana, and Abhinaya Chandrika: a) 
Identification of the author (approximate date) b) Basic overview of the broad areas covered in the 
context of each text. c) Myths regarding the origin of dance according to each text. 
4. A Basic understanding of the term ABHINAYA and definition of its four aspects: Angika, Vatika, 
Acharya, and sattvik. 
5. Rasa: Definition and a short explanation of the ninerasas. 
 
6. Short notes on: 
 
a) The Acharyaa of Odissi. 
 
b) The music accompaniment of Odissi. 
 
PERFORMING ARTS -320 
4 | P a g e 
 
7. Brief explanation of the following terms: (Unit IV Class XI) 
 
a) Nritta, Nritya andNatya 
 
b) Matra, Laya, Taal, Avartana, Vibhaga (Anga) 
 
c) Tandava and Lasya d) Natyadharmi and Lokdharmi 
 
8. Write some names of Folk Dances of Odisha 
 
A5: MANIPURI DANCE 
1. Acquaintance with the life history of chief exponents past and present of the dance form. 
2. Acquaintance with the contents of Abhinaya Darpana. 
 
3. Knowledge of the following terms: 
 
(a) Nritta, Nritya and Natya. Tandava, Lasya, Loka Dharmi, NatyaDharmi. 
(b) Abhinaya: Angika, Vachika, Aharya andSatvika. 
(c) Sangeet: TalaLaya. 
(d) Rasa: Sthayi Bhava, SanchariBhava. 
 
4. Knowledge of technical terms of the style: 
(a) Chali, Bhangi, Longlei,Uplei 
(b) Different kinds of Choloms: Kartal Cholom, Khubak Isei Cholom, Pung Cholom. 
(c) Sankirtan. Different Talas, Rajmel, Menkup,Tanchap. 
(d) Different kinds of Raas. 
5. Acquaintance with the traditional costumes, and make-up for the dance style offered. 
 
(a) Potloi and its different components for Radha and Gopis 
(b) Krishna’scostume. 
(c) Typical traditional makeup for Manipuri classical dances with an emphasis on Vaishnava Tilak. 
 
A6: KATHAKALI DANCE 
 
1. Acquaintance with the life history of the great masters of the dance form of both past and present. 
2. Acquaintance with the contents of the Hastha Lakshana Deepika and Natyasasthra. 
 
3. Knowledge of the following terms: 
 
(i) Nritta, Nritya, Natya, Tandava, Lasya, Lokadharmi, Natyadharmi. 
(ii) Anga, Upanga,Prathyanga 
(iii) Abhinaya (Angika, Vachika, Satvika, Aharaya) with special reference to Hasta                              -Abhinaya, 
Mukhaja-Abhinaya and Netra-Abhinaya. 
(iv) Sangeeta, Tala,Laya 
(v) Rasa, Rasadhrishti, Sthaayibhava, Sthaayidrishti, Sancharibhava,        Bhaava, Vibhaava, 
Anubhaava, and Sathvika Bhaava, 
 
4. Knowledge of the Technical Terminology of the Art forms. 
 
(a) Mutiyettu, Theyyam, Kootiyaattam, Ramanattam, Krishnattam, 
Ottanthullal, and Kalarippayattu 
(b) Hastas – Samyutha, Asamyuta, Mishra, Nanartha from  Hastalakshanadipika. 
Page 4


PERFORMING ARTS -320 
2 | P a g e 
 
 
 
 
 
 
 
 
 
 
Section A: DANCE 
A1: KATHAK 
 
 
1. A brief history of other dance styles of India. 
 
2. A Basic understanding of the term ABHINAYA and definition of its four aspects: angika, 
vachika, aharya, and satvika. 
3. Acquaintance of the three gharanas of Kathak dance (Lucknow, Jaipur, Banaras) 
 
4. Rasa: definition and explanation of nine rasas. 
 
5. Knowledge of the following terms: (short note) sangeet, tal, laya, angahara,  bhramari, 
lokadharmi, natyadharmi, rasa, and bhava. 
6. Knowledge of the technical terminology of the dance form. 
a) Definition of the following: 
i) Vandana 
ii) Tihaayi 
iii) Aamad 
iv) Toda/Tukraa 
v) Paran 
vi) Chakardar Toda /Tukraa andParan 
vii) Gatnikas 
viii) Gatbhaav 
b) Knowledge of Theka of Dadra, Kaharwa, Roopak, Jhap Taal, Teen Taal 
c) Definition of Tali, Khali, Sam, Tihaayi. 
d) Ability to notate a Tukraa/Toda and Paran. 
 
Acquaintance with the traditional costumes and makeup. 
 
A2: BHARATANATYAM DANCE 
1. Acquaintance with the life history of the chief exponents and contributors of the past Dance form. (Rukmini 
Devi Arundale, Bala saraswati, Meenakshi Sundaram Pillai, Tanjorequartette) 
2. Acquaintance with the contents of the Abhinaya Darpana. (The chapters and the aspects of dance dealt 
within them). 
3. Knowledge of the following terms: 
 
(i) Nritta, Nritya, Natya (Sanskrit slokas from the Abhinaya Darpana and basic definition) Tandava (7 
tandavas with detailed stories) Lasya, Lokadharmi, Natyadharmi (Definitions with example) 
(ii) Sthana, Chari, Mandala, Bhrarmari, Utplavana (Slokas and meaning from Abhinaya Darpana) 
Note:  
There will be one Question Paper which will have 50 questions out of which 40 questions need to be 
attempted. 
There will be three Sections i.e. Section A (Dance), Section B (Drama-Theatre), and Section C (Music). 
Candidates may choose any Section. And From Section A and Section C, only one sub-section needs to be 
chosen. 
 
 
PERFORMING ARTS -320 
3 | P a g e 
 
(iii) Abhinaya (Angika, Vachika, Satvika, Aharya-slokas from the Abhinaya Darpana along with the 
meaning) 
(iv) Sangeeta, Tala, Laya (Definition of the term, seven teams, three ways) 
(v) Rasa (names of the nine races and their English meanings) 
4. Knowledge of the technical terminology of the particular Dance form (anyone to be studied by the Dance 
style offered)- 
(a) Definitions of the following: araimandi, muzhumandi, kuttanam, korvai, karvai, adavu, 
shollu, aradhi, theerumanam, jati, jaati, gati, avartana, yati, taalanga, thattukazhi, 
nattuvangam,arangetram) 
 
5. Acquaintance with the traditional costumes makes up the Dance style opted. 
 
 
A3: KUCHIPUDI DANCE 
 
1. A brief history and acquaintance with some traditional dance forms of the region, other than the one 
offered for study. 
 
2. Acquaintance with the life history of the chief exponents of the dance form, past, and present. 
 
 
3. Knowledge of the following  terms: 
(i) Nritta, Nritya, Natya, Tandava, Lasya, Lokadharmi,Natyadharmi 
(ii) Chaturvidha Abhinaya (Angika, Vachika, Satyika, Aharya) with special reference to Mukhaja 
Abhinaya. 
(iii) Sanchari Bhava, Sattvika Bhava 
 
4. Types of compositions and formats used in Kuchipudi Definitions of the following: 
(a) Rangapuja, Shabdam,Ashthapadi, Kalaapam, (Bhaama Kalaapam,     Golla Kalaapam). 
 
A4: ODISSI DANCE 
 
1. Elementary knowledge about the three styles of Chhau: Mayurbhanj, Seraikella, and Purulia. 
2. Brief notes on the lives and contributions of the three Gurus: Guru Pankaj Charan   Das, Guru Kelucharan 
Mohapatra, and Guru Deba Prasad Das. 
3. Elementary introduction to the texts; Natya Shastra, Abhinaya Darpana, and Abhinaya Chandrika: a) 
Identification of the author (approximate date) b) Basic overview of the broad areas covered in the 
context of each text. c) Myths regarding the origin of dance according to each text. 
4. A Basic understanding of the term ABHINAYA and definition of its four aspects: Angika, Vatika, 
Acharya, and sattvik. 
5. Rasa: Definition and a short explanation of the ninerasas. 
 
6. Short notes on: 
 
a) The Acharyaa of Odissi. 
 
b) The music accompaniment of Odissi. 
 
PERFORMING ARTS -320 
4 | P a g e 
 
7. Brief explanation of the following terms: (Unit IV Class XI) 
 
a) Nritta, Nritya andNatya 
 
b) Matra, Laya, Taal, Avartana, Vibhaga (Anga) 
 
c) Tandava and Lasya d) Natyadharmi and Lokdharmi 
 
8. Write some names of Folk Dances of Odisha 
 
A5: MANIPURI DANCE 
1. Acquaintance with the life history of chief exponents past and present of the dance form. 
2. Acquaintance with the contents of Abhinaya Darpana. 
 
3. Knowledge of the following terms: 
 
(a) Nritta, Nritya and Natya. Tandava, Lasya, Loka Dharmi, NatyaDharmi. 
(b) Abhinaya: Angika, Vachika, Aharya andSatvika. 
(c) Sangeet: TalaLaya. 
(d) Rasa: Sthayi Bhava, SanchariBhava. 
 
4. Knowledge of technical terms of the style: 
(a) Chali, Bhangi, Longlei,Uplei 
(b) Different kinds of Choloms: Kartal Cholom, Khubak Isei Cholom, Pung Cholom. 
(c) Sankirtan. Different Talas, Rajmel, Menkup,Tanchap. 
(d) Different kinds of Raas. 
5. Acquaintance with the traditional costumes, and make-up for the dance style offered. 
 
(a) Potloi and its different components for Radha and Gopis 
(b) Krishna’scostume. 
(c) Typical traditional makeup for Manipuri classical dances with an emphasis on Vaishnava Tilak. 
 
A6: KATHAKALI DANCE 
 
1. Acquaintance with the life history of the great masters of the dance form of both past and present. 
2. Acquaintance with the contents of the Hastha Lakshana Deepika and Natyasasthra. 
 
3. Knowledge of the following terms: 
 
(i) Nritta, Nritya, Natya, Tandava, Lasya, Lokadharmi, Natyadharmi. 
(ii) Anga, Upanga,Prathyanga 
(iii) Abhinaya (Angika, Vachika, Satvika, Aharaya) with special reference to Hasta                              -Abhinaya, 
Mukhaja-Abhinaya and Netra-Abhinaya. 
(iv) Sangeeta, Tala,Laya 
(v) Rasa, Rasadhrishti, Sthaayibhava, Sthaayidrishti, Sancharibhava,        Bhaava, Vibhaava, 
Anubhaava, and Sathvika Bhaava, 
 
4. Knowledge of the Technical Terminology of the Art forms. 
 
(a) Mutiyettu, Theyyam, Kootiyaattam, Ramanattam, Krishnattam, 
Ottanthullal, and Kalarippayattu 
(b) Hastas – Samyutha, Asamyuta, Mishra, Nanartha from  Hastalakshanadipika. 
PERFORMING ARTS -320 
5 | P a g e 
 
(c) Kaal SadhakamIrativatam. 
(d) Kalassam, Ashtakalasam, Ilakiyattam,Cholliyattam 
(e) Keli, Arangu Keli (Shuddha Maddalam), Todayam, Purappadu, Melapada,        and Dhanaasi 
(f) Chutti, Pachchha, Kathi, Thaadi, Kari,Minukku 
(g) Rasa, Rasadhrishti, Sthaayibhava, Sthaayidrishti, Sancharibhava, 
Manodharma, Cholliyaattam and Ilakiyaattam 
(h) Ability to write in notation talas learned under practicals. 
 
5. Acquaintance with the traditional costumes and makeup of the Dance style opted. 
6. Knowledge of Kathakali music both vocal and percussion. 
 
Section B: DRAMA-THEATRE 
 
Unit I: Modern and Contemporary Indian Theatre 
 
? Survey of major modern and contemporary styles and works in Hindi / English 
? Rabindranath Tagore, Bhartendu Harishchandra 
? Vijay Tendulkar, Mohan Rakesh, Dharmveer Bharti, Badal Sarkar, Shankar 
Shesh, Girish Karnad, Chandrashekhar Kambar 
 
(The student can identify and study one text (one play) of the above-mentioned playwrights) 
 
? Review of Indian theatre organizations – NSD, Sangeet Natak Academy, Zonal Cultural 
Centres 
 
? Practitioners of modern Indian Theatre 
 
Unit II: Modern and Western Theatre 
 
? Survey of major contemporary styles and works in English or English translation 
? Chekov, Ibsen, Strindberg, Shaw, O’Neill, Ionesco, Beckett, Pinter, Stoppard 
 
(The student can identify and study one text of the Playwrights mentioned) 
 
Unit III: Theatre Production – Management and Performance 
 
? Readings on Theatre management and marketing 
 
Unit IV: Survey of Acting Theory and Practice 
 
? Reading Stanislavsky, Strasberg 
 
      Unit V: Survey of Acting Theory and Practice 
 
? Readings on play production 
 
Unit VI: Theatre Production – Theatre Architectures and Production Design  
 
? History of theatre architecture 
? Readings on production design-color theory, sets, costumes, lighting 
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PERFORMING ARTS -320 
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Section A: DANCE 
A1: KATHAK 
 
 
1. A brief history of other dance styles of India. 
 
2. A Basic understanding of the term ABHINAYA and definition of its four aspects: angika, 
vachika, aharya, and satvika. 
3. Acquaintance of the three gharanas of Kathak dance (Lucknow, Jaipur, Banaras) 
 
4. Rasa: definition and explanation of nine rasas. 
 
5. Knowledge of the following terms: (short note) sangeet, tal, laya, angahara,  bhramari, 
lokadharmi, natyadharmi, rasa, and bhava. 
6. Knowledge of the technical terminology of the dance form. 
a) Definition of the following: 
i) Vandana 
ii) Tihaayi 
iii) Aamad 
iv) Toda/Tukraa 
v) Paran 
vi) Chakardar Toda /Tukraa andParan 
vii) Gatnikas 
viii) Gatbhaav 
b) Knowledge of Theka of Dadra, Kaharwa, Roopak, Jhap Taal, Teen Taal 
c) Definition of Tali, Khali, Sam, Tihaayi. 
d) Ability to notate a Tukraa/Toda and Paran. 
 
Acquaintance with the traditional costumes and makeup. 
 
A2: BHARATANATYAM DANCE 
1. Acquaintance with the life history of the chief exponents and contributors of the past Dance form. (Rukmini 
Devi Arundale, Bala saraswati, Meenakshi Sundaram Pillai, Tanjorequartette) 
2. Acquaintance with the contents of the Abhinaya Darpana. (The chapters and the aspects of dance dealt 
within them). 
3. Knowledge of the following terms: 
 
(i) Nritta, Nritya, Natya (Sanskrit slokas from the Abhinaya Darpana and basic definition) Tandava (7 
tandavas with detailed stories) Lasya, Lokadharmi, Natyadharmi (Definitions with example) 
(ii) Sthana, Chari, Mandala, Bhrarmari, Utplavana (Slokas and meaning from Abhinaya Darpana) 
Note:  
There will be one Question Paper which will have 50 questions out of which 40 questions need to be 
attempted. 
There will be three Sections i.e. Section A (Dance), Section B (Drama-Theatre), and Section C (Music). 
Candidates may choose any Section. And From Section A and Section C, only one sub-section needs to be 
chosen. 
 
 
PERFORMING ARTS -320 
3 | P a g e 
 
(iii) Abhinaya (Angika, Vachika, Satvika, Aharya-slokas from the Abhinaya Darpana along with the 
meaning) 
(iv) Sangeeta, Tala, Laya (Definition of the term, seven teams, three ways) 
(v) Rasa (names of the nine races and their English meanings) 
4. Knowledge of the technical terminology of the particular Dance form (anyone to be studied by the Dance 
style offered)- 
(a) Definitions of the following: araimandi, muzhumandi, kuttanam, korvai, karvai, adavu, 
shollu, aradhi, theerumanam, jati, jaati, gati, avartana, yati, taalanga, thattukazhi, 
nattuvangam,arangetram) 
 
5. Acquaintance with the traditional costumes makes up the Dance style opted. 
 
 
A3: KUCHIPUDI DANCE 
 
1. A brief history and acquaintance with some traditional dance forms of the region, other than the one 
offered for study. 
 
2. Acquaintance with the life history of the chief exponents of the dance form, past, and present. 
 
 
3. Knowledge of the following  terms: 
(i) Nritta, Nritya, Natya, Tandava, Lasya, Lokadharmi,Natyadharmi 
(ii) Chaturvidha Abhinaya (Angika, Vachika, Satyika, Aharya) with special reference to Mukhaja 
Abhinaya. 
(iii) Sanchari Bhava, Sattvika Bhava 
 
4. Types of compositions and formats used in Kuchipudi Definitions of the following: 
(a) Rangapuja, Shabdam,Ashthapadi, Kalaapam, (Bhaama Kalaapam,     Golla Kalaapam). 
 
A4: ODISSI DANCE 
 
1. Elementary knowledge about the three styles of Chhau: Mayurbhanj, Seraikella, and Purulia. 
2. Brief notes on the lives and contributions of the three Gurus: Guru Pankaj Charan   Das, Guru Kelucharan 
Mohapatra, and Guru Deba Prasad Das. 
3. Elementary introduction to the texts; Natya Shastra, Abhinaya Darpana, and Abhinaya Chandrika: a) 
Identification of the author (approximate date) b) Basic overview of the broad areas covered in the 
context of each text. c) Myths regarding the origin of dance according to each text. 
4. A Basic understanding of the term ABHINAYA and definition of its four aspects: Angika, Vatika, 
Acharya, and sattvik. 
5. Rasa: Definition and a short explanation of the ninerasas. 
 
6. Short notes on: 
 
a) The Acharyaa of Odissi. 
 
b) The music accompaniment of Odissi. 
 
PERFORMING ARTS -320 
4 | P a g e 
 
7. Brief explanation of the following terms: (Unit IV Class XI) 
 
a) Nritta, Nritya andNatya 
 
b) Matra, Laya, Taal, Avartana, Vibhaga (Anga) 
 
c) Tandava and Lasya d) Natyadharmi and Lokdharmi 
 
8. Write some names of Folk Dances of Odisha 
 
A5: MANIPURI DANCE 
1. Acquaintance with the life history of chief exponents past and present of the dance form. 
2. Acquaintance with the contents of Abhinaya Darpana. 
 
3. Knowledge of the following terms: 
 
(a) Nritta, Nritya and Natya. Tandava, Lasya, Loka Dharmi, NatyaDharmi. 
(b) Abhinaya: Angika, Vachika, Aharya andSatvika. 
(c) Sangeet: TalaLaya. 
(d) Rasa: Sthayi Bhava, SanchariBhava. 
 
4. Knowledge of technical terms of the style: 
(a) Chali, Bhangi, Longlei,Uplei 
(b) Different kinds of Choloms: Kartal Cholom, Khubak Isei Cholom, Pung Cholom. 
(c) Sankirtan. Different Talas, Rajmel, Menkup,Tanchap. 
(d) Different kinds of Raas. 
5. Acquaintance with the traditional costumes, and make-up for the dance style offered. 
 
(a) Potloi and its different components for Radha and Gopis 
(b) Krishna’scostume. 
(c) Typical traditional makeup for Manipuri classical dances with an emphasis on Vaishnava Tilak. 
 
A6: KATHAKALI DANCE 
 
1. Acquaintance with the life history of the great masters of the dance form of both past and present. 
2. Acquaintance with the contents of the Hastha Lakshana Deepika and Natyasasthra. 
 
3. Knowledge of the following terms: 
 
(i) Nritta, Nritya, Natya, Tandava, Lasya, Lokadharmi, Natyadharmi. 
(ii) Anga, Upanga,Prathyanga 
(iii) Abhinaya (Angika, Vachika, Satvika, Aharaya) with special reference to Hasta                              -Abhinaya, 
Mukhaja-Abhinaya and Netra-Abhinaya. 
(iv) Sangeeta, Tala,Laya 
(v) Rasa, Rasadhrishti, Sthaayibhava, Sthaayidrishti, Sancharibhava,        Bhaava, Vibhaava, 
Anubhaava, and Sathvika Bhaava, 
 
4. Knowledge of the Technical Terminology of the Art forms. 
 
(a) Mutiyettu, Theyyam, Kootiyaattam, Ramanattam, Krishnattam, 
Ottanthullal, and Kalarippayattu 
(b) Hastas – Samyutha, Asamyuta, Mishra, Nanartha from  Hastalakshanadipika. 
PERFORMING ARTS -320 
5 | P a g e 
 
(c) Kaal SadhakamIrativatam. 
(d) Kalassam, Ashtakalasam, Ilakiyattam,Cholliyattam 
(e) Keli, Arangu Keli (Shuddha Maddalam), Todayam, Purappadu, Melapada,        and Dhanaasi 
(f) Chutti, Pachchha, Kathi, Thaadi, Kari,Minukku 
(g) Rasa, Rasadhrishti, Sthaayibhava, Sthaayidrishti, Sancharibhava, 
Manodharma, Cholliyaattam and Ilakiyaattam 
(h) Ability to write in notation talas learned under practicals. 
 
5. Acquaintance with the traditional costumes and makeup of the Dance style opted. 
6. Knowledge of Kathakali music both vocal and percussion. 
 
Section B: DRAMA-THEATRE 
 
Unit I: Modern and Contemporary Indian Theatre 
 
? Survey of major modern and contemporary styles and works in Hindi / English 
? Rabindranath Tagore, Bhartendu Harishchandra 
? Vijay Tendulkar, Mohan Rakesh, Dharmveer Bharti, Badal Sarkar, Shankar 
Shesh, Girish Karnad, Chandrashekhar Kambar 
 
(The student can identify and study one text (one play) of the above-mentioned playwrights) 
 
? Review of Indian theatre organizations – NSD, Sangeet Natak Academy, Zonal Cultural 
Centres 
 
? Practitioners of modern Indian Theatre 
 
Unit II: Modern and Western Theatre 
 
? Survey of major contemporary styles and works in English or English translation 
? Chekov, Ibsen, Strindberg, Shaw, O’Neill, Ionesco, Beckett, Pinter, Stoppard 
 
(The student can identify and study one text of the Playwrights mentioned) 
 
Unit III: Theatre Production – Management and Performance 
 
? Readings on Theatre management and marketing 
 
Unit IV: Survey of Acting Theory and Practice 
 
? Reading Stanislavsky, Strasberg 
 
      Unit V: Survey of Acting Theory and Practice 
 
? Readings on play production 
 
Unit VI: Theatre Production – Theatre Architectures and Production Design  
 
? History of theatre architecture 
? Readings on production design-color theory, sets, costumes, lighting 
PERFORMING ARTS -320 
6 | P a g e 
 
 
Unit VII: Developing and Documenting the Research Project 
 
? Examples of research projects in different aspects of theatre 
? Choosing the scope of the individual project 
?  Using media and sources for the project          
 
                            Section C: MUSIC 
C1: HINDUSTANI MELODIC 
Units 1: 
? Brief study of the following:  
   Gram, Murchhana, Varna, Alankar, Alap, Tana. 
? Brief study of the following:  
Gamak, Meend, Kan, Khatka, Murki, krintan, Zamzama, Ghaseet, Sut. 
Unit 2: 
? Study the following:  
   Classification of Ragas- Ancient, Medieval,d Modern 
? Historical development of Time Theory of Ragas 
Unit 3: 
? Detail study of the following:  
1. Sangeet Ratnakar  
2. Sangeet Parijat 
? Life sketch and Contribution of Inayat Khan, Mushtaq Ali Khan, Alauddin Khan, Abdul Halim 
Zafar 
Unit 4: 
? Description of Prescribed Talas along with Tala Notation with that,  
Dugun, Tigun and Chaugun:  
Jhaptala  
Rupak  
Tilwada  
Dhamar 
? Study of various parts and tuning of the Instrument opted for. 
Unit 5: 
? Critical study of prescribed Ragas along with recognizing Ragas from phrases of Swaras and 
elaborating them 
? Raag description, Raag Recognition  
 Bhairav  
Bageshri  
Shuddha Sarang 
Malkauns 
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FAQs on CUET Exam Syllabus for Performing Arts - Commerce

1. What is the CUET Exam Syllabus for Performing Arts?
Ans. The CUET Exam Syllabus for Performing Arts includes various topics such as music theory, dance techniques, acting skills, stagecraft, and performance analysis. Students are also expected to have a good understanding of different performing arts forms and their historical context.
2. How can I prepare for the CUET Exam in Performing Arts?
Ans. To prepare for the CUET Exam in Performing Arts, it is important to have a thorough understanding of the syllabus and topics covered. Practice regularly by studying the theory, honing practical skills, and analyzing performances. It is also beneficial to join performing arts clubs, attend workshops, and seek guidance from experienced professionals in the field.
3. What are the specific music theory topics covered in the CUET Exam for Performing Arts?
Ans. The specific music theory topics covered in the CUET Exam for Performing Arts include notation reading, scales and chords, rhythm and meter, harmony, musical forms, and analysis. Students are expected to demonstrate their knowledge of these topics through written examinations and practical assessments.
4. Are there any specific dance techniques that I need to focus on for the CUET Exam?
Ans. Yes, there are specific dance techniques that you need to focus on for the CUET Exam. These may vary depending on the style of dance being examined. It is important to have a good understanding of fundamental techniques such as body alignment, coordination, balance, flexibility, and musicality. Additionally, knowledge of specific dance genres, their vocabulary, and performance qualities is crucial.
5. How important is understanding stagecraft for the CUET Exam in Performing Arts?
Ans. Understanding stagecraft is highly important for the CUET Exam in Performing Arts. Stagecraft encompasses various aspects of theatrical production, including set design, lighting, sound, props, and costumes. A thorough understanding of stagecraft enhances a performer's ability to engage with the audience, create a believable environment, and effectively communicate the intended message of a performance.
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