Acting and Direction Questions and Answers

Q: Select the correct sequence :

The correct sequence is Author, Director, Actor, Audience.A play begins with the author, who writes the text. The director interprets it and guides the production, the actors perform it, and the audience receives it.The other options put the audience or the actor before the author, or the director last, which does not follow the order in which a production comes about. The question gives the usual sequence in a production, and the options differ only in the order of the four parts.

Q: Assertion (A) : Theatre director should have knowledge on Art and Craft.Reason (R) : Because he has to coordinate the technical and artistic elements during the production process.

Both statements are true, so the answer is (A) is true (R) is true.A theatre director has to know both the art and the craft of the stage, and the reason is that he coordinates the technical and artistic elements during the production, which makes R the explanation for A.The options that call either statement false do not fit. Both statements agree with the usual view of the role, which is why the key takes the combined option.

Q: The body attitude of a dancer/actor should indicate

All three are correct, so the answer is all of the above.The posture of a dancer or actor shows the state of mind of the character (psychological), the place of the character in society (sociological), and the beauty of the form (aesthetic), and the three are not exclusive.The options naming one of them leave out the others.The three perspectives together make the posture a sign of the mind, the person's place and the beauty of the art.

Q: The recently published book 'Indian Method in Acting' is written by

'Indian Method in Acting' is written by Prasanna.Prasanna, the Kannada director and writer, is known for his work on Indian acting methods and for his theatre company Samudaya.Kumar Verma, M.L. Varadpande and H.V. Sharma have written on other aspects of Indian theatre, but the key does not credit them with this book.The book is published by the National School of Drama and deals with acting methods drawn from India's performing arts.

Q: Give the correct sequence according to their corresponding value :

The order by stage value is Down Centre, Down Right, Down Left, Up Right.On a proscenium stage the strongest area is down centre, nearest to the audience and in the middle. Down right and down left follow, and up right, the area farthest from the audience, is the weakest of these.The other options start with a weaker area or end with down centre.Directors use these stage values when they place a lead actor at a point that draws the eye, and the weakest area is used for minor action.

Q: Give the correct sequence in respect of the five fundamentals of PlayDirection.

The order is Composition, Picturization, Movement, Rhythm, Pantomimic Dramatization.These are the five fundamentals of play direction as set out by Alexander Dean, in this order.The other options begin with movement, picturization or pantomimic dramatization, which breaks the order.Dean's Fundamentals of Play Directing also covers the director's work with the actors and the text.

Q: Assertion (A) : In theatre, the director composes his actors in relation with the space.Reason (R) : The actor-space relationship brings meaning to the production.Codes :

Both statements are true, so the answer is (A) is true, (R) is true.A director composes the actors in relation to the stage space, with groupings and levels that give a stage picture. The reason says that the relation of actor and space gives meaning to the production, which is why the director composes them.The other options call one or both statements false.A director uses levels, groupings and entries to compose the stage picture, which the audience reads as meaning.

11.

Select the correct sequence :

A.Author, Actor, Audience, Director
B.Actor, Audience, Author, Director
C.Audience, Actor, Director, Author
D.Author, Director, Actor, Audience

Exam Year(s)

UGC NET - 2012,

Answer: D

The correct sequence is Author, Director, Actor, Audience.

A play begins with the author, who writes the text. The director interprets it and guides the production, the actors perform it, and the audience receives it.

The other options put the audience or the actor before the author, or the director last, which does not follow the order in which a production comes about. The question gives the usual sequence in a production, and the options differ only in the order of the four parts.

Discuss in Forum

12.

Assertion (A) : Theatre director should have knowledge on Art and Craft.

Reason (R) : Because he has to coordinate the technical and artistic elements during the production process.

A.(A) is true (R) is false
B.(A) is false (R) is true
C.(A) is true (R) is true
D.(A) is false and (R) is false

Exam Year(s)

UGC NET - 2012,

Answer: C

Both statements are true, so the answer is (A) is true (R) is true.

A theatre director has to know both the art and the craft of the stage, and the reason is that he coordinates the technical and artistic elements during the production, which makes R the explanation for A.

The options that call either statement false do not fit. Both statements agree with the usual view of the role, which is why the key takes the combined option.

Discuss in Forum

13.

Assertion (A) : The way we use our body in daily life is substantially different from the way the body, used in the performances.

Reason (R) : In daily life, we use the body technique which has been conditioned by our culture, social status and our profession.
Codes :

A.Both (A) and (R) are correct.
B.Both (A) and (R) are false.
C.(A) is correct, (R) is false.
D.(A) is false, (R) is correct.

Exam Year(s)

UGC NET - 2013,

Answer: A

Both statements are correct, which is option (A). The body in a performance is used in an extra-daily way, trained and stylised, which differs from daily use, as the assertion says. The reason states why: in daily life our body use is shaped by culture, social status and profession, and the performer's technique is different from that. Options (B), (C) and (D) call one or both statements false. This question belongs to Part I of the paper, the section common to all candidates in dance, drama and theatre, which tests the Natyashastra, folk and classical forms, and general knowledge of the performing arts. The answer follows the final UGC answer key issued after the grievances, and it is best learned together with the facts that separate it from the other options, since the options in this subject are often names or terms of the same kind.

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14.

Assertion (A) : Everyone does not know that the eyes, the facial muscles, the mouth are important indicators of the intentions and feelings of living beings.

Reason (R) : The mask becomes a face and the face a mask.
Codes :

A.Both (A) and (R) are true.
B.Both (A) and (R) are false.
C.(A) true, (R) false.
D.(A) false, (R) true.

Exam Year(s)

UGC NET - 2013,

Answer: D

The assertion is false and the reason is true, which is option (D). It is well known that the eyes, the facial muscles and the mouth are the main indicators of the feelings and intentions of living beings, and the assertion, which says that everyone does not know it, is taken as false by the key. The reason, that the mask becomes a face and the face a mask, is a true statement about the face in performance. Options (A), (B) and (C) do not match this reading. This question belongs to Part II of the paper, the Dance section, which tests dance forms, institutions, artists and the literature of dance. The answer follows the final UGC answer key issued after the grievances, and it is best learned together with the facts that separate it from the other options, since the options in this subject are often names or terms of the same kind.

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15.

Assertion (A) : All theatrical cultures have sought to dramatise the facial features by accentuating, deforming on enlarging them. Reason (R) : Kathakali artist practice a special exercise designed to strengthen the eyeball muscles. Codes :

A.Both (A) and (R) false.
B.(A) false (R) true.
C.Both (A) and (R) true.
D.(A) true (R) false.

Exam Year(s)

UGC NET - 2013,

Answer: C

Both statements are true, which is option (C). All the theatrical cultures have tried to dramatise the face by exaggerating it with make-up or masks, and the Kathakali performer practises a special exercise to strengthen the muscles of the eyeball. The reason is a true fact, although it is a separate point and does not explain the assertion. Options (A), (B) and (D) call at least one of them false. This question belongs to Part II of the paper, the Dance section, which tests dance forms, institutions, artists and the literature of dance. The answer follows the final UGC answer key issued after the grievances, and it is best learned together with the facts that separate it from the other options, since the options in this subject are often names or terms of the same kind.

Discuss in Forum

16.

The body attitude of a dancer/actor should indicate

A.Psychological perspective
B.Sociological perspective
C.Aesthetic perspective
D.All of the above

Exam Year(s)

UGC NET - 2013,

Answer: D

All three are correct, so the answer is all of the above.

The posture of a dancer or actor shows the state of mind of the character (psychological), the place of the character in society (sociological), and the beauty of the form (aesthetic), and the three are not exclusive.

The options naming one of them leave out the others.

The three perspectives together make the posture a sign of the mind, the person's place and the beauty of the art.

Discuss in Forum

17.

The recently published book 'Indian Method in Acting' is written by

A.Kumar Verma
B.Prasanna
C.M.L. Varadpande
D.H.V. Sharma

Exam Year(s)

UGC NET - 2013,

Answer: B

'Indian Method in Acting' is written by Prasanna.

Prasanna, the Kannada director and writer, is known for his work on Indian acting methods and for his theatre company Samudaya.

Kumar Verma, M.L. Varadpande and H.V. Sharma have written on other aspects of Indian theatre, but the key does not credit them with this book.

The book is published by the National School of Drama and deals with acting methods drawn from India's performing arts.

Discuss in Forum

18.

Give the correct sequence according to their corresponding value :

A.Down Right, Down Left, Down Centre, Up Right.
B.Down Centre, Down Right, Down Left, Up Right.
C.Down Left, Down Centre, Down Right, Up Right.
D.UP Right, Down Left, Down Right, Down Centre.

Exam Year(s)

UGC NET - 2013,

Answer: B

The order by stage value is Down Centre, Down Right, Down Left, Up Right.

On a proscenium stage the strongest area is down centre, nearest to the audience and in the middle. Down right and down left follow, and up right, the area farthest from the audience, is the weakest of these.

The other options start with a weaker area or end with down centre.

Directors use these stage values when they place a lead actor at a point that draws the eye, and the weakest area is used for minor action.

Discuss in Forum

19.

Give the correct sequence in respect of the five fundamentals of PlayDirection.

A.Movement, Pantomimic Dramatization, Rhythm, Composition, Picturization.
B.Picturization, Rhythm, Movement, Composition, Pantomimic Dramatization.
C.Composition, Picturization, Movement, Rhythm, Pantomimic Dramatization.
D.Pantomimic Dramatization, Rhythm, Movement, Picturization, Composition.

Exam Year(s)

UGC NET - 2013,

Answer: C

The order is Composition, Picturization, Movement, Rhythm, Pantomimic Dramatization.

These are the five fundamentals of play direction as set out by Alexander Dean, in this order.

The other options begin with movement, picturization or pantomimic dramatization, which breaks the order.

Dean's Fundamentals of Play Directing also covers the director's work with the actors and the text.

Discuss in Forum

20.

Assertion (A) : In theatre, the director composes his actors in relation with the space.

Reason (R) : The actor-space relationship brings meaning to the production.
Codes :

A.(A) is true, (R) is true.
B.(A) is false, (R) is true.
C.(A) is false, (R) is false.
D.(A) is true, (R) is false.

Exam Year(s)

UGC NET - 2013,

Answer: A

Both statements are true, so the answer is (A) is true, (R) is true.

A director composes the actors in relation to the stage space, with groupings and levels that give a stage picture. The reason says that the relation of actor and space gives meaning to the production, which is why the director composes them.

The other options call one or both statements false.

A director uses levels, groupings and entries to compose the stage picture, which the audience reads as meaning.

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