NCERT Textbook: Understanding Emotions | Arts (kriti) Class 7 - New NCERT PDF Download

 Page 1


????? ???????? ??????????? ???????? ???? ?????  
???? ???? ???????? ????? ????.  
Ulladu nigazhum kurippu kanippukku erpada  
udambil nigazum verupaadu. 
When an actor expresses emotions of a character, it evokes 
equivalent changes within the actor’s body and mind.
— Arangetram Kaathai,  
Tamil Epic Silappadikaram by Ilango Adigal 
(Sangam Literature)
Page 2


????? ???????? ??????????? ???????? ???? ?????  
???? ???? ???????? ????? ????.  
Ulladu nigazhum kurippu kanippukku erpada  
udambil nigazum verupaadu. 
When an actor expresses emotions of a character, it evokes 
equivalent changes within the actor’s body and mind.
— Arangetram Kaathai,  
Tamil Epic Silappadikaram by Ilango Adigal 
(Sangam Literature)
NOTE TO THE TEACHERS 
Dear Theatre Teacher,
As we work together to build the spirit of theatre in 
children — with creativity, fun and joy on the one 
hand, and hard work, rigour and discipline on the 
other — here is a note that intends to share the vision 
of this textbook with you.
The theatre section for Grade 7 has been written 
to take the children to the next level of understanding 
from Grade 6. It blends numerous activities, along 
with the theoretical knowledge of the concepts 
introduced. While they get foundational knowledge 
and the historical understanding in the text, the 
activities included in it enhances their confidence 
and skills. Here are some requirements to ensure 
theatre classes are fruitful and enjoyable.
Free space to work
The primary requirement of the children is to 
move around freely as they do their activities. It 
is, therefore, important to have a free space where 
children explore the possibilities and try  various 
activities without hinderance.
Connect to real world applications
The content in this book aims to make learning 
relevant to their everyday lives. From building 
empathy and acceptance through emotions, to 
enhancing discipline, planning and management 
skills through backstage activities — theatre can have 
a role to play in everyone’s lives. As a teacher, if such 
references are brought up in classroom discussions, 
it would make the lessons much more fruitful.
Assessment
This is a crucial part of the entire process of studying 
theatre in school as a mainstream subject. Though it is 
important to have marks or grades like every subject, 
it is essential to keep the spirit of theatre intact 
and not reduce it to a mere pen-paper exam with a 
question paper. The final outcome or presentation 
is not the only benchmark. The efforts, thoughts 
and processes behind it also need to be considered  
along with this —
 ? Knowledge application
 ? Effort and participation
 ? Creativity and presentation
 ? Team work and collaboration
Read the section on time allocation and 
assessments at the beginning of the book for better 
Page 3


????? ???????? ??????????? ???????? ???? ?????  
???? ???? ???????? ????? ????.  
Ulladu nigazhum kurippu kanippukku erpada  
udambil nigazum verupaadu. 
When an actor expresses emotions of a character, it evokes 
equivalent changes within the actor’s body and mind.
— Arangetram Kaathai,  
Tamil Epic Silappadikaram by Ilango Adigal 
(Sangam Literature)
NOTE TO THE TEACHERS 
Dear Theatre Teacher,
As we work together to build the spirit of theatre in 
children — with creativity, fun and joy on the one 
hand, and hard work, rigour and discipline on the 
other — here is a note that intends to share the vision 
of this textbook with you.
The theatre section for Grade 7 has been written 
to take the children to the next level of understanding 
from Grade 6. It blends numerous activities, along 
with the theoretical knowledge of the concepts 
introduced. While they get foundational knowledge 
and the historical understanding in the text, the 
activities included in it enhances their confidence 
and skills. Here are some requirements to ensure 
theatre classes are fruitful and enjoyable.
Free space to work
The primary requirement of the children is to 
move around freely as they do their activities. It 
is, therefore, important to have a free space where 
children explore the possibilities and try  various 
activities without hinderance.
Connect to real world applications
The content in this book aims to make learning 
relevant to their everyday lives. From building 
empathy and acceptance through emotions, to 
enhancing discipline, planning and management 
skills through backstage activities — theatre can have 
a role to play in everyone’s lives. As a teacher, if such 
references are brought up in classroom discussions, 
it would make the lessons much more fruitful.
Assessment
This is a crucial part of the entire process of studying 
theatre in school as a mainstream subject. Though it is 
important to have marks or grades like every subject, 
it is essential to keep the spirit of theatre intact 
and not reduce it to a mere pen-paper exam with a 
question paper. The final outcome or presentation 
is not the only benchmark. The efforts, thoughts 
and processes behind it also need to be considered  
along with this —
 ? Knowledge application
 ? Effort and participation
 ? Creativity and presentation
 ? Team work and collaboration
Read the section on time allocation and 
assessments at the beginning of the book for better 
clarity. Assessment for theatre has been planned in 
different levels  as mentioned below.
Formative Assessment 
This is to be done in class after completing the 
activities and chapters at two levels: 
 ? Circle Time?— A process followed after every 
class and every activity. The teacher sits with 
the students in an informal setting (to get honest 
responses from children) to ask questions about 
what they did. They 
share their thoughts and 
experiences, based on 
which the teacher makes 
notes about each child. 
Some questions are given 
in the textbook. The 
teacher can explore more 
questions based on the 
response of class.
 ? Brain Booster?— Practical 
activities have been 
provided for the children 
to try what they have 
CIRCLE  
TIME
 ? Shar e move examples 
of pictures, paintings or 
other instances where 
you have seen emotions.
 ? If you were given the 
work of creating such a 
temple, how would you 
prepare for it?
 ? How much time would 
you spend practising it? 
Can you apply it to your 
work in school?
learnt in the chapter. The outcome 
of these could be used to assess 
the children and fill in the rubrics 
provided. Outcome of each activity 
is not about how ‘good’ or ‘bad’ the 
final product is, rather, about whether 
the process has been understood well and the 
skills are well-developed.
 ? Rubrics?— Upon the completion of each chapter, 
a rubric has been given with the desired learning 
outcomes that the teacher can mark. The children 
are also asked to give grades to themselves, 
based on their perception of their performance 
in that chapter. This self analysis can also act as  
feedback for the teacher.
Summative Assessment
This will be an activity based test conducted at the end 
of the year. The activities need to be a  combination 
of the lessons learnt during the year. The assessment 
is conducted at individual and group level to assess 
different skills and competencies. A sample set of 
activities has been given at the end of the section.
Page 4


????? ???????? ??????????? ???????? ???? ?????  
???? ???? ???????? ????? ????.  
Ulladu nigazhum kurippu kanippukku erpada  
udambil nigazum verupaadu. 
When an actor expresses emotions of a character, it evokes 
equivalent changes within the actor’s body and mind.
— Arangetram Kaathai,  
Tamil Epic Silappadikaram by Ilango Adigal 
(Sangam Literature)
NOTE TO THE TEACHERS 
Dear Theatre Teacher,
As we work together to build the spirit of theatre in 
children — with creativity, fun and joy on the one 
hand, and hard work, rigour and discipline on the 
other — here is a note that intends to share the vision 
of this textbook with you.
The theatre section for Grade 7 has been written 
to take the children to the next level of understanding 
from Grade 6. It blends numerous activities, along 
with the theoretical knowledge of the concepts 
introduced. While they get foundational knowledge 
and the historical understanding in the text, the 
activities included in it enhances their confidence 
and skills. Here are some requirements to ensure 
theatre classes are fruitful and enjoyable.
Free space to work
The primary requirement of the children is to 
move around freely as they do their activities. It 
is, therefore, important to have a free space where 
children explore the possibilities and try  various 
activities without hinderance.
Connect to real world applications
The content in this book aims to make learning 
relevant to their everyday lives. From building 
empathy and acceptance through emotions, to 
enhancing discipline, planning and management 
skills through backstage activities — theatre can have 
a role to play in everyone’s lives. As a teacher, if such 
references are brought up in classroom discussions, 
it would make the lessons much more fruitful.
Assessment
This is a crucial part of the entire process of studying 
theatre in school as a mainstream subject. Though it is 
important to have marks or grades like every subject, 
it is essential to keep the spirit of theatre intact 
and not reduce it to a mere pen-paper exam with a 
question paper. The final outcome or presentation 
is not the only benchmark. The efforts, thoughts 
and processes behind it also need to be considered  
along with this —
 ? Knowledge application
 ? Effort and participation
 ? Creativity and presentation
 ? Team work and collaboration
Read the section on time allocation and 
assessments at the beginning of the book for better 
clarity. Assessment for theatre has been planned in 
different levels  as mentioned below.
Formative Assessment 
This is to be done in class after completing the 
activities and chapters at two levels: 
 ? Circle Time?— A process followed after every 
class and every activity. The teacher sits with 
the students in an informal setting (to get honest 
responses from children) to ask questions about 
what they did. They 
share their thoughts and 
experiences, based on 
which the teacher makes 
notes about each child. 
Some questions are given 
in the textbook. The 
teacher can explore more 
questions based on the 
response of class.
 ? Brain Booster?— Practical 
activities have been 
provided for the children 
to try what they have 
CIRCLE  
TIME
 ? Shar e move examples 
of pictures, paintings or 
other instances where 
you have seen emotions.
 ? If you were given the 
work of creating such a 
temple, how would you 
prepare for it?
 ? How much time would 
you spend practising it? 
Can you apply it to your 
work in school?
learnt in the chapter. The outcome 
of these could be used to assess 
the children and fill in the rubrics 
provided. Outcome of each activity 
is not about how ‘good’ or ‘bad’ the 
final product is, rather, about whether 
the process has been understood well and the 
skills are well-developed.
 ? Rubrics?— Upon the completion of each chapter, 
a rubric has been given with the desired learning 
outcomes that the teacher can mark. The children 
are also asked to give grades to themselves, 
based on their perception of their performance 
in that chapter. This self analysis can also act as  
feedback for the teacher.
Summative Assessment
This will be an activity based test conducted at the end 
of the year. The activities need to be a  combination 
of the lessons learnt during the year. The assessment 
is conducted at individual and group level to assess 
different skills and competencies. A sample set of 
activities has been given at the end of the section.
1
Emotions have always played a very important role in our lives. Since 
time immemorial, we have tried to understand the depth of what, why 
and how emotions exist in our lives.
As this Sanskrit line from Bharata’s Natyashastra says — 
UNDERSTANDING EMOTIONS
???? ????????? ??? ?? ?????? ?????? ? ???????? ???  
? ??? ??? ??? ??? ? ???????? ??? ?? ?????? ??????? ?? ?? ????? ?? ?????? ?? ??? ? ?? 125 ??
Evam Rasasca Bhavasca Na?ake Sm?ta?  
Ya Evametan Janati Sa Gacchet Siddhimuttamam
—?Natyashastra, Bharata Muni (Ch. VII)
In the performance of a play, feelings, sentiments, mood, 
thoughts and state of mind need to be created. Only when 
one knows this well, the play will attain success. 
You will learn
 ? Emotions in different intensities.
 ? Lokadharmi and Natyadharmi — realistic and stylised. 
 ? Representation in ancient architecture.
Page 5


????? ???????? ??????????? ???????? ???? ?????  
???? ???? ???????? ????? ????.  
Ulladu nigazhum kurippu kanippukku erpada  
udambil nigazum verupaadu. 
When an actor expresses emotions of a character, it evokes 
equivalent changes within the actor’s body and mind.
— Arangetram Kaathai,  
Tamil Epic Silappadikaram by Ilango Adigal 
(Sangam Literature)
NOTE TO THE TEACHERS 
Dear Theatre Teacher,
As we work together to build the spirit of theatre in 
children — with creativity, fun and joy on the one 
hand, and hard work, rigour and discipline on the 
other — here is a note that intends to share the vision 
of this textbook with you.
The theatre section for Grade 7 has been written 
to take the children to the next level of understanding 
from Grade 6. It blends numerous activities, along 
with the theoretical knowledge of the concepts 
introduced. While they get foundational knowledge 
and the historical understanding in the text, the 
activities included in it enhances their confidence 
and skills. Here are some requirements to ensure 
theatre classes are fruitful and enjoyable.
Free space to work
The primary requirement of the children is to 
move around freely as they do their activities. It 
is, therefore, important to have a free space where 
children explore the possibilities and try  various 
activities without hinderance.
Connect to real world applications
The content in this book aims to make learning 
relevant to their everyday lives. From building 
empathy and acceptance through emotions, to 
enhancing discipline, planning and management 
skills through backstage activities — theatre can have 
a role to play in everyone’s lives. As a teacher, if such 
references are brought up in classroom discussions, 
it would make the lessons much more fruitful.
Assessment
This is a crucial part of the entire process of studying 
theatre in school as a mainstream subject. Though it is 
important to have marks or grades like every subject, 
it is essential to keep the spirit of theatre intact 
and not reduce it to a mere pen-paper exam with a 
question paper. The final outcome or presentation 
is not the only benchmark. The efforts, thoughts 
and processes behind it also need to be considered  
along with this —
 ? Knowledge application
 ? Effort and participation
 ? Creativity and presentation
 ? Team work and collaboration
Read the section on time allocation and 
assessments at the beginning of the book for better 
clarity. Assessment for theatre has been planned in 
different levels  as mentioned below.
Formative Assessment 
This is to be done in class after completing the 
activities and chapters at two levels: 
 ? Circle Time?— A process followed after every 
class and every activity. The teacher sits with 
the students in an informal setting (to get honest 
responses from children) to ask questions about 
what they did. They 
share their thoughts and 
experiences, based on 
which the teacher makes 
notes about each child. 
Some questions are given 
in the textbook. The 
teacher can explore more 
questions based on the 
response of class.
 ? Brain Booster?— Practical 
activities have been 
provided for the children 
to try what they have 
CIRCLE  
TIME
 ? Shar e move examples 
of pictures, paintings or 
other instances where 
you have seen emotions.
 ? If you were given the 
work of creating such a 
temple, how would you 
prepare for it?
 ? How much time would 
you spend practising it? 
Can you apply it to your 
work in school?
learnt in the chapter. The outcome 
of these could be used to assess 
the children and fill in the rubrics 
provided. Outcome of each activity 
is not about how ‘good’ or ‘bad’ the 
final product is, rather, about whether 
the process has been understood well and the 
skills are well-developed.
 ? Rubrics?— Upon the completion of each chapter, 
a rubric has been given with the desired learning 
outcomes that the teacher can mark. The children 
are also asked to give grades to themselves, 
based on their perception of their performance 
in that chapter. This self analysis can also act as  
feedback for the teacher.
Summative Assessment
This will be an activity based test conducted at the end 
of the year. The activities need to be a  combination 
of the lessons learnt during the year. The assessment 
is conducted at individual and group level to assess 
different skills and competencies. A sample set of 
activities has been given at the end of the section.
1
Emotions have always played a very important role in our lives. Since 
time immemorial, we have tried to understand the depth of what, why 
and how emotions exist in our lives.
As this Sanskrit line from Bharata’s Natyashastra says — 
UNDERSTANDING EMOTIONS
???? ????????? ??? ?? ?????? ?????? ? ???????? ???  
? ??? ??? ??? ??? ? ???????? ??? ?? ?????? ??????? ?? ?? ????? ?? ?????? ?? ??? ? ?? 125 ??
Evam Rasasca Bhavasca Na?ake Sm?ta?  
Ya Evametan Janati Sa Gacchet Siddhimuttamam
—?Natyashastra, Bharata Muni (Ch. VII)
In the performance of a play, feelings, sentiments, mood, 
thoughts and state of mind need to be created. Only when 
one knows this well, the play will attain success. 
You will learn
 ? Emotions in different intensities.
 ? Lokadharmi and Natyadharmi — realistic and stylised. 
 ? Representation in ancient architecture.
It implies emotions are the most important thing 
to connect not just for the audience, but people in 
general. It is, therefore, crucial to understand how 
emotions work in order to make the right connections 
and live a positive life. Let us do a quick recap of what 
we have learnt so far.
In the previous year, we 
discussed about the concept of — 
 ? Bhava?—?The inherent attitude 
and state of mind of the 
individual.
 ? Rasa?—?The feeling that is felt 
in a situation as a result of the 
bhava within.
 ? Experiencing two or more 
emotions in a situation.
 ? Your feelings being different 
from your friends, in the same 
situation.
 ? Navarasa?—?Indian view on 
emotions.
 ? Tragedy-Comedy?—?Greek 
view on emotions.
 ? Game of Hot Seat?—?Combines 
storytelling and emotional 
expression.
 ? Mask-making?—?Emoting 
through masks.
Understanding
Emotions
Expressing
Emotions
5  | UNDERSTANDING EMOTIONS