Level – 6 : Visharad Pratham (5th year)
Total Marks: 400 Minimum Passing Marks: 140
Theory: 150 Marks Minimum Passing marks for theory: 52
Practical: 250 Marks Minimum Passing Marks for Practical: 88
Theory – Two question papers of 75 marks each; minimum passing marks: 26 in each paper.
Theory: Paper I Total Marks: 75 Minimum passing: 26
1. Evolution of ‘Natya’ as per ‘Bharat’. Purpose and application of ‘Natya’.
2. Definition of Nav-Ras.
3. Four types of Nayak Bhed – Dheeroddhatta, Dhirodaatta, Dheer-lalit and Dheer-Prashant.
4. Knowledge of four Niyikas from Ashta-Nayikas, namely – Abhisarika, Khandita,
Vipralabddha & Proshit-Patika.
Ans:
NAYIKA BHEDA ACCORDING TO THE ABHINAYA DARPANAMThere are a few classifications of the Nayikas. The first classification in Shringara is as given below:
5. Knowledge of Matsya, Kurma, Warah, and Narsimha Avatar from Dashawtar; the stories
and Mudras of these Avatars.
6. Definition and knowledge of the 10 Pran of Taal.
7. Information of Bharatnatyam, Manipuri and Kathakali dance styles, their traditional
costumes, jewellary and accompanying instruments.
8. Write notations of Aamad, Bedum Tihai, Farmaishi Paran, Chakradar Paran, Tipalli and
Kavit in each of the following Taals: Teental, Zhaptal and Dhamar.
9. Essays:
A. Importance of Guru-Shishya Parampara(tradition).
B. Merits of a good disciples and his duties towards his Guru.
Theory: Paper II: Total Marks: 75 Minimum passing: 26
1.Evolution of Ras; definitions of Sthayi Bhav, Bhav, Vibhav, Anubhav and
Vyabhichari Bhav.
2.Knowledge of the following words or concepts traditionally used in Kathak:
A. Tipalli, B.Kavit, C. Farmaishi Paran, D.Kamali Paran,
E. Bedum Tihai, F. Tribhang, G. Sudhang, H.Lang-dant,
I. Anulom-Pratilom, J.Bhramari,
K. Nyas-Vinyas.
3.Definitions of the following types of Indian Classical vocal compositions used in Kathak:
A. Asthapadi, B.Dhrupad, C.Thumri, D.Chaturang, E.Tirwat, F.Tarana, G. Chaiti, H.
Kajari and I.Hori.
4.Nawab Wajid Ali Shah’s and Raigadh Maharaj Chakradhar Sinha’s contribution to Kathak.
5.Write notations of Aamad, Tihai, Toda, Chakradar Paran and Kavit in the following Taal:
Raas Taal (13 Matra), Dhamaar (14 Matra), Gajazhampa(15) &
Pancham Sawari (15 Matra).
6.Life Stories of Nataraj Gopi Krishna, Sitara Devi, Pandit Durgalal and Guru Sundarlal Gangani.
7.Essay writing:
a. Raas and Kathak
b. Relevance and importance of Thumari in Kathak.
8. Merits and demerits of a Dancer .
Total Marks: 400 Minimum Passing Marks: 140
Theory: 150 Marks Minimum Passing marks for theory: 52
Practical: 250 Marks Minimum Passing Marks for Practical: 88
Theory – Two question papers of 75 marks each; minimum passing marks: 26 in each paper.
Theory: Paper I Total Marks: 75 Minimum passing: 26
1. Evolution of ‘Natya’ as per ‘Bharat’. Purpose and application of ‘Natya’.
2. Definition of Nav-Ras.
3. Four types of Nayak Bhed – Dheeroddhatta, Dhirodaatta, Dheer-lalit and Dheer-Prashant.
4. Knowledge of four Niyikas from Ashta-Nayikas, namely – Abhisarika, Khandita,
Vipralabddha & Proshit-Patika.
Ans:
NAYIKA BHEDA ACCORDING TO THE ABHINAYA DARPANAMThere are a few classifications of the Nayikas. The first classification in Shringara is as given below:
- Mugda: The innocent one
- Madhya: one with medium intelligence
- Prakalpa: The experienced one (married, a public woman or on who belongs to another one)
- Swiya: One who always thinks only about her own nayaka ( husband). She even enjoys the very thought of him.
- Parakiya: One who enjoys the company of other men, despite being married and without her husband’s knowledge.
- Samanya: One who trains herself in music, dance and love play, to entertain men. She gives herself to other men, merely for materialistic gain.
- Kanyakaa: Here, the young girl , though beautiful and clever, is obedient to her parents and always obedient to her husband.
- Parodaa: Inspite of being a married woman and running a family with her husband, the nayika very stealthily enjoys the company of other men.
- Uttama nayika: Inspite of knowing that her nayaka has done her wrong, she excuses him and stays with him
- Madhyama nayika: She behaves exactly like the nayak. If he shows his love, she too expresses it. If he gets angry, so does she.
- Adhama Nayika: She is interested only to have his company, to suit her own likes and convenience. She is not bothered whether he is clever or foolish, young or old, kind hearted or rude. She only cares for his company. Even when he is soft, she is rude to him. Quite unnecessarily, she gets angry with him. Even when he pleads with her, she refuses to calm down.
- Anya Sambhoga dukkita nayika: When the nayika sends her sakhi to pacify the nayak and bring him to her, the sakhi instead enjoys his company and returns with lame excuses. The nayika, seeing through her friend, scorns and abuses her This is the lakshana of anya sambhoga dukkita nayika.
- Vasakasajjita: one who waits for her nayaka’s arrival, ready with all arrangements.
- Virahotkanthita: One who is disappointed because her nayaka has not come.
- Swadinapatika or Swadinabhartruta: One who is lucky to have a nayaka, who is always by her side and always listens to her.
- Vipralabdha: One who has been deceived by her nayaka.
- Kandita: One who is angry with her nayaka for having gone to the other woman. There are 3 kinds of kandita nayika:
- Dhirai: One who coolly punishes her nayaka.
- Atidhirai: One who cries and pleads with her nayaka.
- Dhiradhirai: One who fights with her nayaka.
- Kalahantarita: One who repents for having fought with her nayaka.
- Prositapatika: One who is feeling lonely because her nayaka has gone out on an errand.
- Abhisarika: One who stealthily goes out to meet her nayaka.
- Abhisaarati: She is called jyotsni or sukta. She always dresses in white and goes out in bright sunlight to meet her nayaka.
- Tamasi: She is called Nila. She always covers herself in a black veil and slips off into the darkness of the night.
5. Knowledge of Matsya, Kurma, Warah, and Narsimha Avatar from Dashawtar; the stories
and Mudras of these Avatars.
6. Definition and knowledge of the 10 Pran of Taal.
7. Information of Bharatnatyam, Manipuri and Kathakali dance styles, their traditional
costumes, jewellary and accompanying instruments.
8. Write notations of Aamad, Bedum Tihai, Farmaishi Paran, Chakradar Paran, Tipalli and
Kavit in each of the following Taals: Teental, Zhaptal and Dhamar.
9. Essays:
A. Importance of Guru-Shishya Parampara(tradition).
B. Merits of a good disciples and his duties towards his Guru.
Theory: Paper II: Total Marks: 75 Minimum passing: 26
1.Evolution of Ras; definitions of Sthayi Bhav, Bhav, Vibhav, Anubhav and
Vyabhichari Bhav.
2.Knowledge of the following words or concepts traditionally used in Kathak:
A. Tipalli, B.Kavit, C. Farmaishi Paran, D.Kamali Paran,
E. Bedum Tihai, F. Tribhang, G. Sudhang, H.Lang-dant,
I. Anulom-Pratilom, J.Bhramari,
K. Nyas-Vinyas.
3.Definitions of the following types of Indian Classical vocal compositions used in Kathak:
A. Asthapadi, B.Dhrupad, C.Thumri, D.Chaturang, E.Tirwat, F.Tarana, G. Chaiti, H.
Kajari and I.Hori.
4.Nawab Wajid Ali Shah’s and Raigadh Maharaj Chakradhar Sinha’s contribution to Kathak.
5.Write notations of Aamad, Tihai, Toda, Chakradar Paran and Kavit in the following Taal:
Raas Taal (13 Matra), Dhamaar (14 Matra), Gajazhampa(15) &
Pancham Sawari (15 Matra).
6.Life Stories of Nataraj Gopi Krishna, Sitara Devi, Pandit Durgalal and Guru Sundarlal Gangani.
7.Essay writing:
a. Raas and Kathak
b. Relevance and importance of Thumari in Kathak.
8. Merits and demerits of a Dancer .