1. YEAR 2004
Attempt FOUR questions in all. Question No. 1 is compulsory. All questions carry equal marks.
1. Explain with reference to the context any THREE of the following passages:
(i) You needn't bother. I saw the pistol Loevborg had when they found him. I recognized it at once. From yesterday. And other occasions.
(ii) You must try to understand. Things have changed. It used to be just the gentry and the peasants. But not there is a new sort of visitor ... people who want to come here in the summer.
(iii) What do you want to explain? You are fully in line with the Holy Congregation's decree of 1616. You cannot be faulted.
(iv) He imagines when I see him indefatigable I'll regret my decision. Such is his miserable scheme.
(v) Wait, I want to give you a souvenir to take with you.
2. Discuss The Cherry Orchard as a comedy.
3. Bring out the symbolic significance of the title of Bond's "The Sea".
4. The play Hedda Gabler is the product of a mind deeply preoccupied with the nature of power, particularly the power of one mind to influence and impose itself upon another. Discuss.
5. ".... It is a play what contains very little element of caricature. This does not turn his Galileo into the self-portrait it is sometimes alleged to be ...". What is your opinion?
6. "Yet, If Beckett devalues language, he continues to use it and, bilingually, to show a mastery of it". How far do you agree with this view? Waiting for Godot.
7. Write a critical note on the following topics:
(i) The character of Lopakhin in The Cherry Orchard.
(ii) The character of Loevborg in Hedda Gabler.
1. Explain with reference to the context any THREE of the following passages:
(i) You needn't bother. I saw the pistol Loevborg had when they found him. I recognized it at once. From yesterday. And other occasions.
(ii) You must try to understand. Things have changed. It used to be just the gentry and the peasants. But not there is a new sort of visitor ... people who want to come here in the summer.
(iii) What do you want to explain? You are fully in line with the Holy Congregation's decree of 1616. You cannot be faulted.
(iv) He imagines when I see him indefatigable I'll regret my decision. Such is his miserable scheme.
(v) Wait, I want to give you a souvenir to take with you.
2. Discuss The Cherry Orchard as a comedy.
3. Bring out the symbolic significance of the title of Bond's "The Sea".
4. The play Hedda Gabler is the product of a mind deeply preoccupied with the nature of power, particularly the power of one mind to influence and impose itself upon another. Discuss.
5. ".... It is a play what contains very little element of caricature. This does not turn his Galileo into the self-portrait it is sometimes alleged to be ...". What is your opinion?
6. "Yet, If Beckett devalues language, he continues to use it and, bilingually, to show a mastery of it". How far do you agree with this view? Waiting for Godot.
7. Write a critical note on the following topics:
(i) The character of Lopakhin in The Cherry Orchard.
(ii) The character of Loevborg in Hedda Gabler.
2. YEAR 2005
Attempt FOUR questions in all. Question No. 1 is compulsory. All questions carry equal marks.
1. Explain with reference to the context any THREE of the following passages:
(i) (gesture towards the Universe) This one is enough for you. (silence). It's not nice of you, Didi. Whom am I to tell my private nightmares to if I can't tell them to you?
(ii) You can charge each tenant twenty-five roubles a year per hectare per plot --- easily. If you advertise right away I guarantee by the autumn you won't have a single plot left ---.
(iii) Yes, but have you noticed how strong and healthy she's looking? And how she's filled out since, we went away?
(iv) You must tell me exactly what happened. I was going to complain to the chief-of-staff about the battery opening fire.
(v) They are making you plough water. They allow you pens and paper to keep you quiet. How can you possibly write when you know what's the purpose.
2. "In the Sea Bond shows the ability of human beings to survive the worst, to retain their optimism and not to brought down by the lunacy and injustice of the world they live in". Discuss with close reference to the text.
3. "The daemon of Hedda is that she wants to influence another human being, but once that has happened she despises him". Do you agree? Give arguments to support your answer.
4. Is Beckett's Waiting for Godot relevant for us today?
5. "The Cherry Orchard is a tragedy despite the fact that Chekhov described it as a comedy". How far would you agree?
6. "Brechet's Galileo Galili is not only a hymn to reason but one that centres specifically on the need to be sceptical, to doubt". Discuss.
7. Do you think that Bond is indebted to Brecht for his concept of theatre? Give arguments in support of your answer.
1. Explain with reference to the context any THREE of the following passages:
(i) (gesture towards the Universe) This one is enough for you. (silence). It's not nice of you, Didi. Whom am I to tell my private nightmares to if I can't tell them to you?
(ii) You can charge each tenant twenty-five roubles a year per hectare per plot --- easily. If you advertise right away I guarantee by the autumn you won't have a single plot left ---.
(iii) Yes, but have you noticed how strong and healthy she's looking? And how she's filled out since, we went away?
(iv) You must tell me exactly what happened. I was going to complain to the chief-of-staff about the battery opening fire.
(v) They are making you plough water. They allow you pens and paper to keep you quiet. How can you possibly write when you know what's the purpose.
2. "In the Sea Bond shows the ability of human beings to survive the worst, to retain their optimism and not to brought down by the lunacy and injustice of the world they live in". Discuss with close reference to the text.
3. "The daemon of Hedda is that she wants to influence another human being, but once that has happened she despises him". Do you agree? Give arguments to support your answer.
4. Is Beckett's Waiting for Godot relevant for us today?
5. "The Cherry Orchard is a tragedy despite the fact that Chekhov described it as a comedy". How far would you agree?
6. "Brechet's Galileo Galili is not only a hymn to reason but one that centres specifically on the need to be sceptical, to doubt". Discuss.
7. Do you think that Bond is indebted to Brecht for his concept of theatre? Give arguments in support of your answer.
3. YEAR 2006
Attempt FOUR questions in all. Question No. 1 is compulsory. All questions carry equal marks.
1. Explain with reference to the context any THREE of the following passages.
(i) Perhaps not. We're into the spring tides now. He'll be washed up where the coast turns in. (Points) You see? People are cruel and boring and obsessed.
(ii) (nervously, walking across the room) Sometimes a mood like that hits me. And I can't stop myself. (Throws herself down in the armchair by the stove.) Oh, I don't know how to explain it.
(iii) Here's a fine rug ..... here you are, ladies and gentlemen, a fine rug for sale ..... (she opens it up) who wants to buy?
(iv) We wait we are bored. (He throws up his hand.) No, don't protest. We are bored to death, there is no denying it.
(v) An apple from the tree of knowledge! He's wolfing it down. He is damned for ever, but he has got to wolf it down, the poor glutton.
2. "I left the last sentence of the play unfinished because the play can have no satisfactory solution at that stage," says Edward Bond. What is your opinion about ending the play The Sea?
3. Bring out the dramatic significance of the symbols used in Hedda Gabler.
4. How far do you think Chekhov is successful in presenting the theme of the passing of the old order through the symbol of cherry orchard.
5. Can one identify with Beckett's characters in Waiting for Godot and if so why?
6. Do you think the play Galileo Galili presents a conflict between the authority and free scientific inquiry, both on the institutional level and within Galileo's own character?
7. Write a critical note on the following topics;
(i) Rational Theatre
(ii) Epic Theatre
1. Explain with reference to the context any THREE of the following passages.
(i) Perhaps not. We're into the spring tides now. He'll be washed up where the coast turns in. (Points) You see? People are cruel and boring and obsessed.
(ii) (nervously, walking across the room) Sometimes a mood like that hits me. And I can't stop myself. (Throws herself down in the armchair by the stove.) Oh, I don't know how to explain it.
(iii) Here's a fine rug ..... here you are, ladies and gentlemen, a fine rug for sale ..... (she opens it up) who wants to buy?
(iv) We wait we are bored. (He throws up his hand.) No, don't protest. We are bored to death, there is no denying it.
(v) An apple from the tree of knowledge! He's wolfing it down. He is damned for ever, but he has got to wolf it down, the poor glutton.
2. "I left the last sentence of the play unfinished because the play can have no satisfactory solution at that stage," says Edward Bond. What is your opinion about ending the play The Sea?
3. Bring out the dramatic significance of the symbols used in Hedda Gabler.
4. How far do you think Chekhov is successful in presenting the theme of the passing of the old order through the symbol of cherry orchard.
5. Can one identify with Beckett's characters in Waiting for Godot and if so why?
6. Do you think the play Galileo Galili presents a conflict between the authority and free scientific inquiry, both on the institutional level and within Galileo's own character?
7. Write a critical note on the following topics;
(i) Rational Theatre
(ii) Epic Theatre
4. YEAR 2007
Attempt any FOUR questions. Question No. 1 is compulsory. All questions carry equal marks.
1. Explain with reference to the context any THREE of the following passages.
(i) I also believe in the wise rate catcher. He can bear to live in the minutes as well as the years, and understands the voice of the thing he is going to kill. Suffering is a universal language and everything that has a voice is human. We sit here and the world changes.
(ii) Why must it be like this? Why can't we get suffering over, done with, quickly! Why can't change .... Finish with all the mess and misery in life!
(iii) You can stand there and say that! No further use for me! Surely I can go on helping you? We'll go on working together, won't we?
(iv) What are we doing here, that is the question. And we are blessed in this, that we happen of known the answer. Yes, in this manner confusion one thing alone is clear. We are waiting for Godot to come .....
(v) What do you want to explain? You are fully in line with the Holy Congregation's decree of 1616. You cannot be faulted.
2. Is Bond justified in calling The Sea a comedy despite the fact that there is-so-much violence in the play?
3. "In an instant ail will vanish and well be alone once more, in the midst of nothingness!" How far do you agree that these lines of the play Waiting for Godot reflect the intellectual climate of Beckett's time?
4. How far would you agree that the tragedy of Hedda is that she has nothing serious to do but at the same time she desperately years, for happiness without every being able to find it?
5. "It is not what the characters say which matters, it is what they are and what they are doing with their lives". How far do you agree with this assessment of the characters in The Cherry Orchard?
6. How far do you think Brecht is successful in applying his theories about drama in Galileo Gallic.
7. Discuss some of the main features of modern drama with special reference to the plays in your syllabus.
1. Explain with reference to the context any THREE of the following passages.
(i) I also believe in the wise rate catcher. He can bear to live in the minutes as well as the years, and understands the voice of the thing he is going to kill. Suffering is a universal language and everything that has a voice is human. We sit here and the world changes.
(ii) Why must it be like this? Why can't we get suffering over, done with, quickly! Why can't change .... Finish with all the mess and misery in life!
(iii) You can stand there and say that! No further use for me! Surely I can go on helping you? We'll go on working together, won't we?
(iv) What are we doing here, that is the question. And we are blessed in this, that we happen of known the answer. Yes, in this manner confusion one thing alone is clear. We are waiting for Godot to come .....
(v) What do you want to explain? You are fully in line with the Holy Congregation's decree of 1616. You cannot be faulted.
2. Is Bond justified in calling The Sea a comedy despite the fact that there is-so-much violence in the play?
3. "In an instant ail will vanish and well be alone once more, in the midst of nothingness!" How far do you agree that these lines of the play Waiting for Godot reflect the intellectual climate of Beckett's time?
4. How far would you agree that the tragedy of Hedda is that she has nothing serious to do but at the same time she desperately years, for happiness without every being able to find it?
5. "It is not what the characters say which matters, it is what they are and what they are doing with their lives". How far do you agree with this assessment of the characters in The Cherry Orchard?
6. How far do you think Brecht is successful in applying his theories about drama in Galileo Gallic.
7. Discuss some of the main features of modern drama with special reference to the plays in your syllabus.
5. YEAR 2008
Attempt FOUR questions in all. Question No. 1 is compulsory. All questions carry equal marks.
1. Explain with reference to the context any THREE of the following passages.
(i) And Virginia will soon Rave to have a dowry: she's not bright. Then I like buying books about other things besides Physics, and I like a decent meal. Good' meals are when I get mot of my ideas.
(ii) I trust nobody needs reminding that Orchard and estate come under hammer in two weeks' time ..... Two weeks friends. Try to think of it while you dine.
(iii) Is there anything I can do, that's what I ask myself, to cheer them up? I have given them bones, I have talked to them; about this and that, I have explained the twilight, admittedly.
(iv) Then create room. Don't you aspire to be an artist? Think of the miners who spend their lives crawling through darkness so that may have light.
(v) Apparently he put up a very violent resistance. Hit one of the constables on the ear and tore his uniform. He had to accompany them to the police station.
2. How does Beckett transform inaction into dramatic auction in Waiting for Godot?
3. "Hatach, inhabits a world which is illusory as that of the play rehearsed in Mrs. Rafi's room". Elaborate.
4. Is the Cherry Orchard a political play?
5. "Hedda's restlessness and envy arise from her false standards of happiness as well as from her egotism and uselessness". What is your opinion?
6. Is the play Galileo Galilie a tragedy?
7. Trace the development which took place in the art of dramaturgy from Ibsen to Bond.
1. Explain with reference to the context any THREE of the following passages.
(i) And Virginia will soon Rave to have a dowry: she's not bright. Then I like buying books about other things besides Physics, and I like a decent meal. Good' meals are when I get mot of my ideas.
(ii) I trust nobody needs reminding that Orchard and estate come under hammer in two weeks' time ..... Two weeks friends. Try to think of it while you dine.
(iii) Is there anything I can do, that's what I ask myself, to cheer them up? I have given them bones, I have talked to them; about this and that, I have explained the twilight, admittedly.
(iv) Then create room. Don't you aspire to be an artist? Think of the miners who spend their lives crawling through darkness so that may have light.
(v) Apparently he put up a very violent resistance. Hit one of the constables on the ear and tore his uniform. He had to accompany them to the police station.
2. How does Beckett transform inaction into dramatic auction in Waiting for Godot?
3. "Hatach, inhabits a world which is illusory as that of the play rehearsed in Mrs. Rafi's room". Elaborate.
4. Is the Cherry Orchard a political play?
5. "Hedda's restlessness and envy arise from her false standards of happiness as well as from her egotism and uselessness". What is your opinion?
6. Is the play Galileo Galilie a tragedy?
7. Trace the development which took place in the art of dramaturgy from Ibsen to Bond.
6. YEAR 2009
Attempt FOUR questions in all. Question No. 1 is compulsory. All questions carry equal marks.
1. Explain with reference to the context any THREE of the following passages.
(i) The transcript is inside that globe. Should you think of taking it to Holland, you would of course have to bear the entire responsibility. In that case you would have bought it from someone who had access to the original in the Holy Office.
(ii) How can we begin to live in the present if we don't redeem the past .... come to terms with it? There is only one way. By suffering. By work. By extraordinary effort .... by unceasing toil. Try to understand that, Anya.
(iii) We should ask him for the bone first. Then if he refuses we'll leave him there.
(iv) Vine leaves? No, I didn't see any of them. He made a long, rambling oration in honour of the woman who'd inspired him to write this book. Yes, those were the words he used.
(v) You'll be a dog. You collect for your Save the Animals Fund every year and you never go away till we've given twice as much as we can afford. Now you have the chance to earn some more gratitude from your little friends.
2. Do you think that "Loveborg's despair arises from the fact that he wants to control the world but cannot control himself"?
3. Trace the various stages in Mrs. Rafi's responsibility for the ultimate breakdown of Hatch in The Sea.
4. What is the dramatic significance of the song in Act II of Waiting for Godot?
5. Why has Chekhov's drama been called 'lyrical' and 'internal' as opposed to 'external'? Discuss with reference to his play The Cherry Orchard.
6. "I betrayed my profession. A man who does what I did cannot be tolerated in the ranks of science." Make a critical assessment of Galileo's character in the light of this statement.
7. "Drama from Ibsen to Bond reflects an effort on the part of the playwrights to search for suitable language to convey their experience of life to the audience." Do you agree?
1. Explain with reference to the context any THREE of the following passages.
(i) The transcript is inside that globe. Should you think of taking it to Holland, you would of course have to bear the entire responsibility. In that case you would have bought it from someone who had access to the original in the Holy Office.
(ii) How can we begin to live in the present if we don't redeem the past .... come to terms with it? There is only one way. By suffering. By work. By extraordinary effort .... by unceasing toil. Try to understand that, Anya.
(iii) We should ask him for the bone first. Then if he refuses we'll leave him there.
(iv) Vine leaves? No, I didn't see any of them. He made a long, rambling oration in honour of the woman who'd inspired him to write this book. Yes, those were the words he used.
(v) You'll be a dog. You collect for your Save the Animals Fund every year and you never go away till we've given twice as much as we can afford. Now you have the chance to earn some more gratitude from your little friends.
2. Do you think that "Loveborg's despair arises from the fact that he wants to control the world but cannot control himself"?
3. Trace the various stages in Mrs. Rafi's responsibility for the ultimate breakdown of Hatch in The Sea.
4. What is the dramatic significance of the song in Act II of Waiting for Godot?
5. Why has Chekhov's drama been called 'lyrical' and 'internal' as opposed to 'external'? Discuss with reference to his play The Cherry Orchard.
6. "I betrayed my profession. A man who does what I did cannot be tolerated in the ranks of science." Make a critical assessment of Galileo's character in the light of this statement.
7. "Drama from Ibsen to Bond reflects an effort on the part of the playwrights to search for suitable language to convey their experience of life to the audience." Do you agree?
7. YEAR 2010
Attempt FOUR questions in all. Question No. 1 is compulsory. All questions carry equal marks.
1. Explain with reference to the context any THREE of the following passages.
(i) He was there this afternoon. He went to demand something he said they had stolen from him. He talked wildly about some child that had disappeared.
(ii) I tell you every day. Every day I say the same thing over and over again. You must let the cherry orchard and the land under building leases for summer cottages, and you must do it now, as quickly as possible, or the auction will be on top of you!
(iii) In my spare time, of which I have plenty, I have gone over my case and considered how it is going to be judged by that world of science of which I no longer count myself a member.
(iv) But we were there together, I could swear to it! Picking grapes for a man called .... (he snaps his fingers) .... can't think of the name of the man, at a place, do you not remember?
(v) Such a night. Thanks heavens I didn't know you were out in it I would have had no sleep.
2. Is Waiting for Godot a meaningful play?
3. How far do you think Edward Bond is successful in applying his theories about drama in The Sea?
4. Discuss some of the dramatic devices Ibsen has used to depict Hedda Gabler's predicament.
5. "Lopakhin is not a merchant in the vulgar sense of the word ... There is no need for him to be the typical merchant. He is a tender-hearted man." Do you think that this statement fully explains Lopakhin's character in The Cherry Orchard?
6. Do you think that Galileo Galili presents a conflict between the whole spirit of the free inquiry and the official ideology? Elaborate your answer with reference to the play.
7. Discuss the main features of drama after the World War II
1. Explain with reference to the context any THREE of the following passages.
(i) He was there this afternoon. He went to demand something he said they had stolen from him. He talked wildly about some child that had disappeared.
(ii) I tell you every day. Every day I say the same thing over and over again. You must let the cherry orchard and the land under building leases for summer cottages, and you must do it now, as quickly as possible, or the auction will be on top of you!
(iii) In my spare time, of which I have plenty, I have gone over my case and considered how it is going to be judged by that world of science of which I no longer count myself a member.
(iv) But we were there together, I could swear to it! Picking grapes for a man called .... (he snaps his fingers) .... can't think of the name of the man, at a place, do you not remember?
(v) Such a night. Thanks heavens I didn't know you were out in it I would have had no sleep.
2. Is Waiting for Godot a meaningful play?
3. How far do you think Edward Bond is successful in applying his theories about drama in The Sea?
4. Discuss some of the dramatic devices Ibsen has used to depict Hedda Gabler's predicament.
5. "Lopakhin is not a merchant in the vulgar sense of the word ... There is no need for him to be the typical merchant. He is a tender-hearted man." Do you think that this statement fully explains Lopakhin's character in The Cherry Orchard?
6. Do you think that Galileo Galili presents a conflict between the whole spirit of the free inquiry and the official ideology? Elaborate your answer with reference to the play.
7. Discuss the main features of drama after the World War II
8. YEAR 2011
Attempt FOUR questions in all. Question No. 1 is compulsory. All questions carry equal marks.
1. Explain with reference to the context any THREE of the following passages:
(i) Quite irreproachably, I assure you. In every respect. All the same --- I'm dreadfully frightened something may happen to him.
(ii) I suddenly felt sorry for Mama, I just put my hands on her face and held her, I just couldn't let her go. And afterwards she hugged me, and cried.
(iii) Perhaps I haven't got it right. He wants to mollify me, so that I'll give up the idea of parting with him. No, that's exactly it either.
(iv) Most samples are sent out to deliberately deceive customers. I have no doubt about it, you could add it to the Articles of Religion. Well it's a handsome material. I'll say that. It will look well at part House. I want a hundred and sixty-two yards in three lengths. I'll have it made up at Forebeach.
(v) Why does he make the earth the centre of the universe? So that the See of St. Peter can be the centre of the earth! That's it what it is all about.
2. How does Beckett prevent the audience from being bored by Waiting for Godot?
3. Ibsen's play exhibits a conflict in Hedda between the masculine and the feminine traits which ultimately brings about her destruction. How far do you agree?
4. The Sea in Bond's play 'is the symbol of our strength and resourcefulness, as well as a description of our lives as moral beings'. Discuss.
5. Discuss the main features of the Epic Theatre in the light of Brechet's play Galileo Galili.
6. Discuss the dramatic significance of the sub-plot of The Cherry Orchard.
7. Write a critical note on the following:
(i) The character of Willy in The Sea
(ii) The character of Lyubov in The Cherry Orchard
1. Explain with reference to the context any THREE of the following passages:
(i) Quite irreproachably, I assure you. In every respect. All the same --- I'm dreadfully frightened something may happen to him.
(ii) I suddenly felt sorry for Mama, I just put my hands on her face and held her, I just couldn't let her go. And afterwards she hugged me, and cried.
(iii) Perhaps I haven't got it right. He wants to mollify me, so that I'll give up the idea of parting with him. No, that's exactly it either.
(iv) Most samples are sent out to deliberately deceive customers. I have no doubt about it, you could add it to the Articles of Religion. Well it's a handsome material. I'll say that. It will look well at part House. I want a hundred and sixty-two yards in three lengths. I'll have it made up at Forebeach.
(v) Why does he make the earth the centre of the universe? So that the See of St. Peter can be the centre of the earth! That's it what it is all about.
2. How does Beckett prevent the audience from being bored by Waiting for Godot?
3. Ibsen's play exhibits a conflict in Hedda between the masculine and the feminine traits which ultimately brings about her destruction. How far do you agree?
4. The Sea in Bond's play 'is the symbol of our strength and resourcefulness, as well as a description of our lives as moral beings'. Discuss.
5. Discuss the main features of the Epic Theatre in the light of Brechet's play Galileo Galili.
6. Discuss the dramatic significance of the sub-plot of The Cherry Orchard.
7. Write a critical note on the following:
(i) The character of Willy in The Sea
(ii) The character of Lyubov in The Cherry Orchard
9. YEAR 2012
Attempt FOUR questions in all. Question No. 1 is compulsory. All questions carry equal marks.
1. Explain with reference to the context any THREE of the following passages:
(i) Was I asleep? While the others suffered? Or am I asleep at this time? When I wake up tomorrow, or think that I have woken up, what shall I say about today?
(ii) Oh my lovely innocent childhood! Sleeping here is the nursery, looking out into the orchard, --- every morning waking up to happiness. And it is --- the same as it was, nothing's changed.
(iii) Do you find it so incredible that a young girl, given the chance in secret, should want to be allowed a glimpse into a forbidden world of whose existence she is supported to be ignorant?
(iv) Listen, where is the world's weak spot? Here. They know there's no leadership, no authority, no discipline in his town. So it's up to us.
(v) If you have knowledge to sell, you can ask only as much as it earns the purchaser.
2. WAITING FOR GODOT exposes the eternal loneliness, bafflement and ennui suffered by man. Comment.
3. "HEDDA GABBLER's characters anticipates the modern, emancipated woman who invariably places herself in opposition to the traditional maternal role. Elaborate.
4. THE SEA questions the moral and social hypocritical attitudes that dominates our private and public behaviour without suggesting any alternatives. What is the use of such a play?
5. Is the CHERRY ORCHARD a blend of smiles and tears? Why?
6. Life of Galileo by Brecht puts the heroic and the sublime next to the comic and the mundane. Elaborate.
7. Write a critical note on the following.
(i) Tragedy -- from Sophocles to Edward Bond
(ii) Language as theme in twentieth century drama.
1. Explain with reference to the context any THREE of the following passages:
(i) Was I asleep? While the others suffered? Or am I asleep at this time? When I wake up tomorrow, or think that I have woken up, what shall I say about today?
(ii) Oh my lovely innocent childhood! Sleeping here is the nursery, looking out into the orchard, --- every morning waking up to happiness. And it is --- the same as it was, nothing's changed.
(iii) Do you find it so incredible that a young girl, given the chance in secret, should want to be allowed a glimpse into a forbidden world of whose existence she is supported to be ignorant?
(iv) Listen, where is the world's weak spot? Here. They know there's no leadership, no authority, no discipline in his town. So it's up to us.
(v) If you have knowledge to sell, you can ask only as much as it earns the purchaser.
2. WAITING FOR GODOT exposes the eternal loneliness, bafflement and ennui suffered by man. Comment.
3. "HEDDA GABBLER's characters anticipates the modern, emancipated woman who invariably places herself in opposition to the traditional maternal role. Elaborate.
4. THE SEA questions the moral and social hypocritical attitudes that dominates our private and public behaviour without suggesting any alternatives. What is the use of such a play?
5. Is the CHERRY ORCHARD a blend of smiles and tears? Why?
6. Life of Galileo by Brecht puts the heroic and the sublime next to the comic and the mundane. Elaborate.
7. Write a critical note on the following.
(i) Tragedy -- from Sophocles to Edward Bond
(ii) Language as theme in twentieth century drama.
10. YEAR 2013
Attempt FOUR questions in all. Question No. 1 is compulsory. All questions carry equal marks.
1. Explain any THREE of the following with reference to the context.
(i) Recognize! What is there in which one should recognize? All my wretched life I have crawled in mud! And you think it proper to talk to me about scenery? Look at this heap of rubbish! I have never gone away from it.
(ii) There is no turning back ... is it over ... finished and done worth long ago. Stop worrying. And stop deceiving yourself ... for once in your life look at the truth and face it.
(iii) He'll be here. I can see him. With a crown if vine leaves in his hair. Burning and unashamed.
(iv) I believe the Universe lives. It teems with life. Men take themselves to be very strong and cunning. But who can kill space and time or dust?
(v) I like to think it all started with ships. From times immemorial ships had hugged the shores, but suddenly they abandoned the shores and sailed out the oceans.
2. Bring out the significance of the title of WAITING FOR GODOT.
3. Can Hedda be regarded as the precursors of the 20th century emancipated woman? Give your arguments.
4. Edward Bond's THE SEA is overshadowed by Marxist concern. Do you agree?
5. In THE CHERRY ORCHARD, we watch the dreams of childhood dying and ambitions of middle age stirring into action. Comment.
6. Can Life of Galileo be read as anti-religions play?
7. Discuss Ibsen's contribution to the development of modern drama.
11. YEAR 2014
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) Was I asleep? While the others suffered? Or am I asleep at this time? When I wake up tomorrow, or think that I have woken up, shall I say about today?
(ii) Oh my lovely innocent childhood! Sleeping here in the nursery, looking out into the orchard, ... every morning waking up to happiness. And it is ... the same as it was, nothing's changed.
(iii) Do you find it so incredible that a young girl, given the chance in secret, should want to be allowed a glimpse into a forbidden world of whose existence she is supposed to be ignorant?
(iv) Listen, where is the world's week spot? Here. They know there's no leadership, no authority, no discipline in its town. So its up to us.
(v) If you have knowledge to sell, you can ask only as much as it earns the purchaser.
2. Waiting for Godot voices the infinite hope and despair of man about the future of humanity. Do you agree?
3. What picture of the social and moral norms of the society that surrounds Hedda Gabler, can be found in Ibsen's play?
4. Why does Bond refuse to suggest a solution to the problems of the society? What are the recommendations made in The Sea regarding the responsibility of the individual in the search of the truth?
5. How does the comic element in The Cherry Orchard enhance the tragic impact of the play?
6. The play by Brecht deliberately moves away from being a 'slice of life' by using distancing techniques. Discuss the effectiveness of these techniques.
7. Write a critical note on the following:
(i) Tragedy -- from Sophocles to Edward Bond
(ii) Language as theme in twentieth century drama
12. YEAR 2015
Attempt any FOUR questions. Question No. 1 is COMPULSORY. All questions carry equal marks.
1. Explain with reference to the context any THREE of the following extracts:
(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 this 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 followers 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 around 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 regularity about the disasters that befall them. They have been assured that God's eye is always on them ....
2. "The Cherry Orchard" can be read as a drama tracing the human journey from childhood fantasy to the adult consciousness of harsh reality. Elaborate.
3. Does Ibsen's play depict the failure of artistic impulse in a world dominated by socio economic concerns? How do you interpret the death of Lovcborg in "Hedda Gabble"?
4. Discuss "Waiting for Godot" as representative of 20th century issues of anxiety and despair.
5. What does Bond gain by inserting the classical tragedy of Orpheus within the tragedy of modern world in "The Sea"?
6. Is Galileo a tragic protagonist?
7. Write a critical note on the following.
(i) Socio Economic Issues in 20th Century Drama
(ii) Absurdism as a Modern Concern
13. YEAR 2016
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.
(i) .... if we're to start living in the present isn't it abundantly clear that we've first to go redeem our past and make a clean break with it? And we can only redeem it by suffering and getting down to real work for a change.
(ii) Lovborg: I've torn my own life to pieces. So I might as well tear up my life's work as well.
Mrs. Elvsted: And you did that last night!
Lovborg: Yes, I tell you. Into a thousand pieces. And scattered them out in the fjord. A long way out. At least the water's clean and salt out there. They'll driftwith the current and the wind. And after a while they'll sink. Deeper and deeper. Like I will.
(iii) There's man all over for you, blaming on his boots the faults of his feet.
(iv) "Lo, I tamed the wild beasts, but I cannot tame the torments of my breast".
(v) Yes, I am dissatisfied, and that's what you'd be paying me for if you had any brains. Becaus I'm dissatisfied with myself.
2. 'Hedda Gabbler presents the socio-psychological conflicts within the liberated woman'. Elaborate with appropriate textual citations.
3. "The Cherry Orchard" is about the passing away of the romantic phase and the onset of modern capitalist tendencies. Comment.
4. Bring out the various ways in which language has been exploited in "Waiting for Godot".
5. How does Edward Bond synthesize the classical and romantic dramatic traditions with modern political theatre in "The Sea"?
6. Discuss "The Life of Galileo Galilie" as an anti-romantic play.
7. Write notes on the following;
(i) The Well-Made Play
(ii) Pozzo
14. YEAR 2017
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.
(i) Little peasant. It's true my father was a peasant, but here am I in my white waistcoat and brown boots, barging in like a bull in china shop. The only thing is, I am rich.
(ii) Brack: Fortunately, the nuptial journey is at an end ...
Hedda: The journey'll be a long one ... a long one yet, I've just come to a stopping-place on the line.
(iii) One daren't even laugh any more.
Dreadful privation.
Merely smile.
(iv) Listen, where is the world's weak spot? Here. They know there's no leadership, no authority, no discipline in his town. So it's up to us.
(v) During the last hundred years it has been as though men were expecting something. The citiex are narrow and so are men's minds. Superstition and plague.
2. How does Chekhov bring in comedy in a tragic situation in "The Cherry Orchard"? How far does he succeed?
3. Discuss the dramatic significance of Hedda's suicide towards the end of the play "Hedda Gabler". Is it justified? Elaborate with arguments.
4. Does Galileo posses heroic dimensions?
5. How far would you agree that "Waiting for Godot" highlights the concept of Kierkegaard's philosophy of existentialism?
6. How far would you agree that the ending of the play "The Sea" is justified?
7. Write critical note on the following topics.
(i) Rational Theatre
(ii) Absurd Theatre
15. YEAR 2018
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.
(i) You needn't bother; I saw the pistols Loveborg had when they found him. I recognized it at once. From yesterday and other occasions.
(ii) You must try to understand. Things have changed it used to be just the gentry but now there's new sort of visitor ... who to come here in summer.
(iii) What do you want to explain? You are fully in line with the Holy Congregation's decree of 1616. You cannot be faulted.
(iv) Is there anything I can do, that's what I ask myself, to cheer them up? I have given them bones, I have talked to them about this and that, I have explained the twilight, admittedly.
(v) Then create room. 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 ...
2. "The demon in Hedda wants to influence one but when it happens she disposes him." Discuss Hedda's character in the light of this comment.
3. How far would you agree that The Cherry Orchard represents a conflict between modernity and traditional Russian society? Elaborate your answer.
4. Critically examine the play Galileo Galilei in the light of Epic Theatre.
5. What is the dramatic significance of little games that characters play in Waiting for Godot?
6. "Men are not innately violent but are driven to react violently when they feel trapped within an irrational and inhuman political system or when they are too frightened to admit the possibility of change". Comment on this statement in the light of the play The Sea.
7. Write a critical note on the following.
(i) The Opening Scene of The Sea
(ii) The Character of Thea in Hedda Gabler
16. YEAR 2019
Attempt any FOUR questions. Question No. 1 is compulsory. All questions carry equal marks.
1. Explain with reference to the context any THREE of the following.
(i) The journey'll be a long one ... a long one yet, I've just come to a stopping-place on the line.
(ii) "I've never met such frivolous people as you before, or anybody so non-business and peculiar. Here I am telling you in plain language that your estate will be sold, and you don't seem to understand."
(iii) Have you not done tormenting me with your accursed time! It's abominable! When! When! One day, is that not enough for you?
(iv) "They loot at me as if I'm a dangerous animal they have to pat?"
(v) And since our ships began sailing to them the laughing continents have got the message: the great ocean they feared, is a little puddle. And a vast desire has sprung up to know the reasons for everything: why a stone falls when you let it go and why it rises when you toos it up.
2. What stance does Ibsen take about sex and marriage in Hedda Gabbler?
3. Lopakhin's utter lack of feelings is no less appalling than the ignorance and stupidity of the outdated aristocrats. Do you agree?
4. How does Waiting for Godot appropriate language and why?
5. The Sea by Edward Bond presents the failure of any attempts to revolutionize the world. Support or refute by quoting from the text.
6. Brecht rejects the classical notions of tragic hero, inevitability of choice and the arousal of pity and fear as the tragic emotions in The Life of Galiloe. Comment.
7. Critically elaborate the following.
(i) Setting, Mood and Stage Direction in 20th Century Drama
(ii) Symbolism as a Dramatic Device in The Cherry Orchard
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