Sunday, 30 November 2014

PAST PAPER (DRAMA 2012 SUPPLEMENTARY)

13. YEAR 2012 (Supplementary) 
Attempt any FOUR questions including Question No. 1 which is COMPULSORY. All questions carry equal marks.
1. Explain with reference to the context any THREE of the following passages:
(i) Does he not have the right to put down his bags? He certainly have the right. From this we conclude that he keeps on carrying the bags all the time because he likes to do so. This is a good explanation.
(ii) All his narrow minded concern with petty illusion, can't she understand that we are above all that? We must be free of the small, the pointless...
(iii) Yes, it's got the odour of death about it. It reminds me of the flowers one has worn at a ball --- the morning after.
(iv) Don't you aspire to be an artist? Think of the miners who spend their lives crawling through darkness so that you may have light. That also, in its way, is the task of art.
(v) I can visualize my parents sitting round the fire with my sister, eating their curded cheese ... They are badly off, but even their misfortunes imply a certain order. There are so many cycles. There is a regularity about the disasters that befall them ... They have been assured that God's eye is always on them ...
2. WAITING FOR GODOT shows the individual as the product of linguistic forces, a 'tissue of textualities'. Comment.
3. HEDDA GABBLER's doomed enterprise takes on full meaning only if her milieu is completely conveyed in both, its human destiny and limitation. Elaborate.
4. 'If you can't face Hiroshima in the theatre, you'll eventually end up in Hiroshima itself. How does the above remark by Edward Bond state his moral position regarding the role of drama?
5. What are the salient features of a naturalistic play? Can THE CHERRY ORCHARD be considered as a naturalistic play?
6. Life of Galileo by Brecht is a major attempt to dramatize both the life of a great scientist and a crucial episode in the biography of science. Elaborate.
7. Write a critical note on the following:
(i) The use of Play-within-play in THE SEA
(ii) Ibsen as a modern dramatist.  

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