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PUNJABI UNIVERSITY, PATIALA(Established Under Punjab Act No.35 of 1961)

FACULTY OF ARTS & CULTURE

OUTLINES OF TESTS, SYLLABI AND COURSES OF

READING

FOR

M.A.(THEATRE AND TELEVISION)

SEMESTER-I, II, III & IV

And

COURSE-OPEN ELECTIVE (QUALIFYING)

(UNDER CHOICE BASED CREDIT SYSTEM-CBCS)

SEMESTER-II & IV

For the Examination 2017-18

©The Registrar, Punjabi University, PatialaAll Rights Reserved.

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New Scheme First Session

M.A. THEATRE AND TELEVISION SESSION: 2017-18

SCHEME AND OBJECTIVE OF THE STUDIES

There will be 16 papers in M.A. course. Each Paper will be of 100 marks. All theory papers will have 26%* internal assessment as per RUSA scheme of studies. Pass Marks will be 35% in all the papers. 1 hour for lecture/tutorial and 2 hours for practical is equivalent to 1 credit as per UGC rules. The contents are designed by keeping in view UGC’s syllabi for National Eligibility Test (NET). The course will cater regional, national and international theatre scenario and provide an orientation of television and films also. Objective of this course is to make the students professionally equipped. A special paper ‘Punjabi Drama and Theatre’ is introduced in new scheme of studies to fulfil the mandate of this university and the department.

M.A. Course: 1600 Marks (400 Marks per Semester)

Course Subject Papers Name of the Paper Code ** Credits External Internal/Continuous

Total Marks

(Hours/ Week)L+ T+ P

M.ASem-I

Theatre and Television

Core- I THEATRE ORIENTATION

TTVT 101 5 74 26 100 4:1:0

Core- 2 PUNJABI DRAMA AND THEATRE

TTVT 102 5 74 26 100 4:1:0

Core-3 ACTING ORIENTATION

TTVP 103 5 50 50 100 0:0:10

Core-4 FUNDAMENTALS OF DESIGN AND DIRECTION

TTVP 104 5 50 50 100 0:0:10

Total 20 248 152 400 30

M.ASem-II

Theatre and Television

Core- 5 WESTERN DRAMA AND ARCHITECTURE

TTVT 105 5 74 26 100 4:1:0

Core- 6 WESTERN THEATRE TTVT 106 5 74 26 100 4:1:0

Core-7 PRODUCTION MANAGEMENT

TTVP 107 5 0 100 100 0:0:10

Core-8 PLAY PRODUCTION TTVP 108 5 0 100 100 0:0:10

Total 20 148 252 400 30

Sem-II& IV

Open Elective

INTRODUCTION TO DRAMATICS

OETTV 3 46 29 75 2:1:0

* Board of Studies passed to keep 26% internal assessment for the MA course to maintain uniformity in the division of marks of theory papers. It is not affecting the pass percentage. This 1 mark will be added to the marks of attendance in all the papers to maintain uniformity. ** THEATRE AND TELEVISION THEORY (TTVT)** THEATRE AND TELEVISION PRACTICAL (TTVP)** OPEN ELECTIVE THEATRE AND TELEVISION (OETTV)

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M.A. THEATRE AND TELEVISION PART- I

SEMESTER – I

PAPER - I : THEATRE ORIENTATION

PAPER- II : PUNJABI DRAMA AND THEATRE

PAPER- III : ACTING ORIENTATION

PAPER- IV : FUNDAMENTALS OF DESIGN AND DIRECTION

SEMESTER - II

PAPER -V : WESTERN DRAMA AND ARCHITECTURE

PAPER- VI : WESTERN THEATRE

PAPER- VII : PRODUCTION MANAGEMENT

PAPER- VIII : PLAY PRODUCTION

INSTRUCTIONSFOR

INTERNAL ASSESSMENT OF THEORY PAPERS AND

ATTENDANCE

Maximum Marks: 26 Pass Marks: 9

The department will display a date sheet on the notice board in the beginning of the semester as under: 14 Marks: MST. There will be 2 mid semester tests. Each MST will be of one hour. 06 Marks: Assignment. An assignment will be taken as per the requirement of the paper. 06 Marks: Attendance. These marks will be given according to the following criteria.

Below 75%: No Marks 75%-80%: 3 Marks

81%-85%: 4 Marks 86%-100%: 6 Marks

TIME ALLOWEDFOR

INTERNAL ASSESSMENT EXAMINATION

1. 30 minutes will be given to paper setting, 1 hour to invigilation and 30 minutes per paper to the evaluation of each MST.

2. 30 minutes will be given to the assignment evaluation. 3. 1:30 hours per paper will be given to the result compilation of internal assessment examination.4. 1:30 hours will be given to the attendance compilation of each paper.

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M.A. THEATRE AND TELEVISION PART-ISEMESTER-I

SESSION: 2017-18

PAPER-I: THEATRE ORIENTATION THEORY

Time Allowed: 3 Hours Maximum Marks: 74 Minimum Hours: 60 Pass Marks: 26

INSTRUCTIONS FOR THE PAPER-SETTER

The paper setter is required to set 9 questions in all. The question paper will consist of three sections: A, B and C. Section A and B will have 8 questions and carry 44 marks. Each question will carry 11 marks. Candidate will attempt 2 questions each from the Sections A and B. Section C will contain 15 short answer type questions each of 2 marks. It will cover the entire syllabus uniformly and carry 30 marks.

INSTRUCTIONS FOR THE CANDIDATESCandidates are required to attempt 5 questions selecting 2 questions each from the Sections A and B of

the question paper and the entire Section C. The candidates are required to answer each short-answer type question in 50 words i.e. in 4-5 lines.

SECTION – A1. Origin, Definition and Elements of Theatre2. Drama and its Elements

3. Relationship between Theatre and Drama

SECTION – BAn Overview of the following:

4. Ancient Indian Theatre5. Modern Indian Theatre6. Western Theatre

BOOKS PRESCRIBED AND RECOMMEDED READINGS

Adya Rangacharya, Bharti Rangmanch (Punjabi), Gurmakh Singh Sehgal (Translated), National Book Trust, India, 1988A. Nicoll, Theory of Drama, Doaba House, New DelhiBalwant Gargi, Lok Natak (Punjabi),Publication Bureau, Punjabi University,Patiala,2016Balwant Gargi, Rangmanch (Punjabi), Navyug Publishers,Delhi,1999Dr.Harcharan Singh, Panjab Di Nat Prampra, Publication Bureau, Punjabi University, Patiala Jai Dev Taneja, Adhunik Bhartiya Natya Vimarsh, Radha Krishan Parkashan, New Delhi, 2010Jonnie Patricia Mobley,NTC’s Dictionary of THEATRE and DRAMA TERMS,NTC Publishing Group,USA,1998Kapila Vatsyayana, Traditional Indian Theatre: Multiple Streams (Hindi Translation), Badiujzm, National Book Trust, India, 1995N.C. Jain, Indian Theatre, Vikas Publishing House, New Delhi, 1992.Navnendra Behal, Nataki Sahit, Publication Bureau, Punjabi University, Patiala, 2016O.G. Brockett, The Essential Theatre, Wadsworth & Thomson, U.S.A, 2004Surjit Singh Sethi, Natak Kala,Lok Geet Parkashan, Chandigarh, 2005

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SESSION: 2017-18

PAPER -II: PUNJABI DRAMA AND THEATRETHEORY






SECTION – A1. History of Punjabi Drama and Theatre: 1900-19472. Loha Kutt by Balwant Gargi3. History of Punjabi Drama and Theatre with specific reference to IPTA: 1947-19604. Opera Heer Ranjha by Sheila Bhatia

.SECTION – B

5. History of Punjabi Drama and Theatre: 1960-19806. Loona by Shiv Kumar Batalvi7. History of Punjabi Drama and Theatre: 1980-20008. Kamloopus Dian Machhian by Atamjit

BOOKS PRESCRIBED AND RECOMMENDED READINGS

Atamjit,Kamloopus Dian Machhian, Unistar Books,Chandigarh,2013Balwant Gargi, Loha Kutt, Navyug Publishers, New Delhi, 2002Dr.Gurdial Singh Phul, Panjabi Natak:Sarup,Sidhant Te Vikas, Publication Bureau, Punjabi Uiversity,Patiala,1998IPTA Lehar Dee Punjab Vich Dastak, Kewal Dhaliwal (Edited), Punjab Sungeet Natak Academy, Chandigarh,2015Kamlesh Uppal,Absurdvad Ate Punjabi Rangmanch,Publication Bureau,Punjabi University,Patiala,

1986

Sabinderjit Singh Sagar, Punjabi Natak Da Itihas (Vol-I),Varis Shah Foundation,Amritsar,1998 Satish Kumar Verma, Punjabi Natak Da Itihas, Punjabi Academy, Delhi, 2005 Satish Kumar Verma,Punjabi Natak Aur Rangmanch Ki Ek Sadi (Hindi), National School of Drama, New Delhi,2009Satish Kumar Verma, Sheila Bhatia De Opere, Shilalekh,Delhi,2016 Shiv Kumar Batalvi, Loona, Waris Shah Foundation,Amritsar,2003

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SESSION: 2017-18

PAPER-III: ACTING ORIENTATIONPRACTICAL

Minimum Hours: 120 Maximum Marks: 100 Pass Marks: 35

This paper will focus on the training of an actor.

SECTION-A1. Body: Physical Culture, Physical Exercises for body relaxation, Concentration, Imagination and

Observation, Working on Expression, Gesture, Posture, Movement and Walk, Theatre Games and Improvisations to activate mind and body.

SECTION-B2. Voice: Voice Culture and Projection, Recitation of Om and Vowels, Breathing Exercises,

Pronunciation of Punjabi, Hindi and English Consonants and syllables.

3. Speech and Diction: Understanding the different levels of Speech, Grammar and signs of Language, Stresses and Pauses, Learning and practicing the delivery of Monologue, Dialogue, Narrative, Poetry, Verse and Chorus.

4. Plays for Speech and Diction Practice: Punjabi: Kanak Di Balli by Balwant Gargi, Sat Bagane by Ajmer Singh Aulakh, Kal Ajj Te Bhalak

by Harcharan Singh, Qatra Qatra Zindgi by Davinder Daman, Shairee by Swarajbir, Komagata Maru-1914 Ik Zakhmi Parwaz by Gurpreet Singh Ratol

Hindi: Ashad Ka Ek Din by Mohan Rakesh and Andha Yug by Dharamvir Bharti, King Lear by William Shakespeare (Hindi Translation)

Urdu: Tughlaq by Girish Karnad

INSTRUCTIONS FOR THE EXAMINER AND EXAMINATION

Students will present acting practical assignments in CCA examination and in External Assessment examination. Assessment/Marks will be given according to the following scheme.

1. Continuous Comprehensive Assessment: 50 Marks i) Attendance : 06 Marksii) 2 Acting Practical Assignments: 44 Marks

2. External Assessment: 50 Marks 1 Monologue: 15 Marks1 Narrative: 15 Marks1 Dialogue (Two or three actors): 20 Marks

TIME ALLOWED FOR EXAMINATION1. 20 minutes will be given per practical assignment for internal and external practical.

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A.Mangai, Acting Up-Gender and Theatre in India 1979 Onwards, LeftWord, India,2015Ajmer Singh Aulakh,Sat Bagane, Lokgeet Parkashan,Chandigarh,2004Balwant Gargi,Kanak Di Balli,Navyug Publishers,New Delhi,2003Bertram Joseph, Acting Shakespeare, Routledge & Kegan Paul, London, 1962Charles McGaw, Acting is Believing, Holt, Rinehart and Winston, New York, 1975Davinder Daman,Qatra Qatra Zindgi, Chetna Parkashan,Ludhiana,2009Dharmvir Bharti, Andha Yug, Kitab Ghar,Delhi, 2005Girish Karnad, Tughlaq(Hindi), Radhakrishan, Delhi, 2005Girish Karnad, Tughlaq (English), Oxford University, Press,1994Gurpreet Singh Ratol,Komagata Maru-1914 Ik Zakhmi Parwaz, Publication Bureau, Punjabi University, Patiala,2016Harcharan Singh, Kal Ajj Te Bhalak, Aarsi Publishers,Delhi,2004Irving Warde, Impro-Improvisation and the Theatre, Methuen, London,1982John Harrop, Acting, Routledge, 1992Laurence Olivier On Acting, Sceptre, London, 1987Modern Indian Plays, Chandrasekhar Kambar, National School of Drama, New Delhi,2000Mohan Rakesh, Ashaad Ka Ek Din, Rajpal and Sons, Dehli, 2004New Wave Punjabi Drama: Six Punjabi Plays in English, Atamjit Singh (Edited),Punjabi Academy,Delhi,2014Prakash Syal (Dr.) and Navnindra Behl (Dr), Abhinai Kala, Publication Bureau, Punjabi University, Patiala, 1994Prasanna, Indian Method in Acting, National School of Drama, New Delhi,2013Stanley Kahan, Introduction to Acting, Allyn and Bacon,Inc.,1985Swarajbir, Shairee,Chetna Parkashan,Ludhiana,2004Vimala Herman, Dramatic Discourse (Dialogue as Interaction in Plays), Routledge, London, 1995William Hobbs, Techniques of the Stage Fight, Studio Vista Ltd, London, 1967William Shakespeare, King Lear (Hindi), Dr. Harivansh Rai Bachchan, Rajpal and Sons,Delhi,2005

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M.A. THEATRE AND TELEVISION PART-I

SEMESTER-ISESSION: 2017-18

PAPER–IV: FUNDAMENTALS OF DESIGN AND DIRECTION PRACTICAL


SECTION-A1. Design: Concept and Elements2. Principles of Design3. Perspective in Design4. Role and Objective of Design

SECTION-B

5. Direction: Concept and Elements 6. Learning and understanding Blocking and Composition 7. Role of Actors, Set and its levels in a Composition8. Understanding the Subtext and Interpretation of a play

INSTRUCTIONS FOR THE EXAMINER AND EXAMINATIONEach student will prepare and submit a design project book in CCA examination. All students in

groups will present a scene work in the External Assessment examination. Groups will be made by the class teacher. Assessment/Marks will be given according to the following scheme.

1. Continuous Comprehensive Assessment: 50 Marksi) Attendance : 06 Marks ii) Design Project Book: 44 Marks

2. External Assessment: 50 Marks Scene Work (Design & Direction): 30 Marks

Analytical Appreciation and Viva Voce: 20 Marks

TIME ALLOWED FOR EXAMINATION1. 30 minutes will be given to the evaluation of each design project book.2. 1 hour will be given per group for external practical.

RECOMMEDED READINGSAlexander Dean, Lawrence Carra, Fundamentals of Play Directing, Holt,Rinehart And Winston,1980Atamjit Singh, Natak Da Nirdeshan, Lok Geet Parkashan, Amritsar,1989David Welker, Theatrical Set Design-the basic techniques, Allyn and Bacon,Inc.,Boston,1979Douglas Young, Create Your Own Stage Faces, Bell & Hyman Limited, London, 1985 Hugh Morrison, Directing in the Theatre, Adam & Charles, London, 1984Hunston D. Sellman & Merrill Lessley, Essential of Stage Lighting, Prentice Hall, U.S.A, 1982Kewal Dhaliwal, Rangkarmi Di Teesari Akh,Ravi Sahit Parkashan,Amritsar,2006Motley, Design and Making Stage Costumes, Studio Vista London, 1974

Richard Pilbrow, Stage Lighting, Studio Vista, London, 1976Surjit Singh Sethi, Sirjnatmic Natak-Nirdeshan, Publication Bureau, Punjabi University,Patiala,1985

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M.A. THEATRE AND TELEVISION PART-ISEMESTER-II

SESSION: 2017-18

PAPER-V: WESTERN DRAMA AND ARCHITECTURE THEORY






SECTION–A1. Aristotle’s Concept of Three Unities and Theory of Catharsis 2. King Oedipus by Sophocles 3. Epidaurus 4. Globe Theatre 5. Hamlet by William Shakespeare

SECTION–B6. Study Realism with specific reference to the play Enemy of the People by Henrik

Ibsen7. Proscenium Theatre 8. Bertolt Brecht: Dramatic Theatre versus Epic Theatre9. Study Theatre of the Absurd with specific reference to the play Waiting for Godot by

Samuel Beckett

BOOKS PRESCRIBED AND RECOMMENDED READINGSAristotle, Kavya Shashtra (Punjabi Translation), Harbhajan Singh,S.Chand and Company,Lahore Book Shop, Ludhiana Baljit Kaur, Suhaj-Shashtra Di Roop –Rekha,Guru Nanak Dev University, Amritsar,1987Donald Oenslager, Stage Design, Thames & Hudson, London, 1975Dr.Kamal Naseem, Odipus Trayee (Hindi Translation), Sahitya Akademi, New Delhi,2000John Willet (Edited and Translated), Brecht on Theatre, Methuen Drama, London, 1964Mahesh Anand and Devendra Raj Ankur (Edited), Rangmanch Ke Siddhant, Rajkamal Prakashan, New Delhi, 2008O.G. Brockett, History of the Theatre, Allyn and Bacon, 1999O.G. Brockett, The Essential Theatre, Wadsworth & Thomson, U.S.A, 2004Raymond Williams, Drama from Ibsen to Brecht, Penguin Books, 1976Richard Southern, Proscenium And Sight-Lines, Faber and Faber Limited, London,1964Samuel Beckett, Waiting for Godot (Hindi Translation), Rajat Kapoor, Chigari, New DelhiSamuel Beckett, Godo Di Udik, (Punjabi Translation), Balram, Publication Bureau, Punjabi University, Patiala, 2007William Shakespeare, Hamlet (Hindi Translation), Amrit Rai, Hans Parkashan, Allahabad, 1994William Shakespeare, Hamlet (Punjabi Translation), Surjit Hans, Publication Bureau, Punjabi University,Patiala,1997

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SESSION: 2017-18

PAPER-VI: WESTERN THEATRETHEORY






SECTION–A1. Stanislavski’s Method Acting and Concept of Fourth Wall2. Meyerhold’s Theory of Bio-mechanics3. Bertolt Brecht’s Epic Acting Theory with specific reference to his play Caucasian

Chalk Circle SECTION-B

4. Antonin Artaud’s Theatre of Cruelty5. Jerzy Grotowski’s Poor Theatre6. Peter Brook’s Concept of Empty Space

RECOMMENDED READINGSAlma Law and Mel Gordon, Meyerhold, Eisenstein and Biomechanics, McFarland & Company, Inc., Publisher, 2012.Antonin Artaud, The Theatre and its Double (Translation by Victor Corti), John Calder, London,1958Bertolt Brecht, Kharia Ka Ghera (Hindi Translation),Kamleshwar, Radhakrishan Parkashan,Delhi,2002Bertolt Brecht, Inj Hoya Insaf (Punjabi Translation), Satish Kumar Verma, Sahitya Akademi, New Delhi,2007Constantin Stanislavski, An Actor Prepares, (Translation By Elizabeth Reynolds Hapgood), Methuen Drama, London, 2004.Constantin Stanislavski, Building A Character, (Translation By Elizabeth Reynolds Hapgood), Methuen Drama, London, 2004.Jerzy Grotowski, Towards a Poor Theatre, Eugenio Barba (Edited), Methuen, London, 1986John Willet (Edited and Translated), Brecht on Theatre, Methuen Drama, London, 1964Mahesh Anand and Devendra Raj Ankur (Edited), Rangmanch Ke Siddhant, Rajkamal Prakashan, New Delhi, 2008Peter Brook, The Empty Space, Penguin Books, London,2008Phillip B. Zarilli, Psychological Acting, An Intercultural Approach After Stanislavski, Routledge, 2009Prakash Syal (Dr.) and Navnindra Behl (Dr), Abhinai Kala, Publication Bureau, Punjabi University, Patiala, 1994Sonia Moore, the Stanislavski System, The Professional Training of An Actor, Penguin Books, New York, 1984Sunita Dhir, Styles of Theatre Acting, Gian Publishing House, New Delhi,1998

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SESSION: 2017-18

PAPER-VII: PRODUCTION MANAGEMENTPRACTICAL


Paper-VII & Paper-VIII will be taught in collaboration. All students will work in the play production and learn production management. For back stage work students will be divided in groups according to the requirement of the production by the director/designer. The groups will work under the directions of Stage Manager, Assistant Director and Designer. It will be a participatory learning process. Its objective is to activate and sharpen the production management skills of the students.

INSTRUCTIONS FOR THE EXAMINER AND EXAMINATION The marks of this paper will be given by the Teacher Director/Designer of the semester production according to the following scheme.

1. Attendance: 06 Marks2. Discipline, Initiative and Accountability: 20 Marks3. Set, Properties, Costumes, Accessories, Light and Sound, Make-up,

Publicity Coordination and Management: 60 Marks4. Production Discourse: 14 Marks

TIME ALLOWED FOR EXAMINATION 1. 15 minutes will be given to the production discourse per student.

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SESSION: 2017-18

PAPER- VIII: PLAY PRODUCTION PRACTICAL


Paper-VII & Paper-VIII will be taught in collaboration. All students will work in the play production as Actors, Assistant Directors, and Assistant Designers. It will be a participatory learning process. Its objective is to activate and sharpen the creative and analytical faculties of the students in acting, direction and design.

INSTRUCTIONS FOR THE EXAMINER AND EXAMINATION

The marks of this paper will be given by the Teacher Director of the semester production according to the following scheme.

1. Attendance: 06 Marks2. Punctuality, Discipline and Team Spirit: 20 Marks3. Promptness, Creativity and Performance: 60 Marks4. Production Assignment: 14 Marks

TIME ALLOWED FOR EXAMINATION 1. 30 minutes will be given to the evaluation of each production assignment.

RECOMMENDED READINGS

Hugh Morrison, Directing in the Theatre, Adam & Charles, London, 1984

John Gassner, Producing The Play, Holt, Rinehart and Winston, Inc., 1953

John Gassner, Directions in Modern Theatre and Drama, Holt, Rinehart And Winston, Inc., Newyork,

1965

J.Michael Gilllette, Theatrical Design And Production, Mayfield Publishing Company,1992

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Old Scheme Last Session

SYLLABI

M.A. THEATRE AND TELEVISION PART-IISEMESTER–III SESSION: 2017-18

PAPER-I: LITERATURE AND HISTORY OF THEATRE

MAX MARKS: 100 PASS MARKS: 35%

THEORY: 75 INTERNAL ASSESSMENT: 25

PAPER-II: ACTING


THEORY: 40 PRACTICAL: 35 INTERNAL ASSESSMENT: 25

PAPER-III: DIRECTION



PAPER-IV: STAGE CRAFT



PAPER-V: THEATRE PERSONALITY AND INVOLVEMENT


(For details of Paper-V please see the examination scheme given inside)

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INSTRUCTIONSFOR


ATTENDANCE




81%-85%: 4 Marks 86%-100%: 5 Marks

TIME ALLOWEDFOR




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M.A. THEATRE AND TELEVISION PART-IISEMESTER – IIISESSION: 2017-18

PAPER-I: LITERATURE AND HISTORY OF THEATRETHEORY



The paper setter is required to set 9 questions in all. The question paper will consist of three sections: A, B and C. Section A will have 4 questions and will carry 25 marks. Each question will carry 12.5 marks. Section B will also have 4 questions and will carry 20 marks. Each question will carry 10 marks. Candidate will attempt 2 questions each from the Sections A and B. Section C will consist of 15 short-answer type questions and will cover the entire syllabus uniformly. It will carry 30 marks. Each question will carry 2 marks.

INSTRUCTIONS FOR THE CANDIDATESCandidates are required to attempt 5 questions selecting 2 questions each from the Sections A

and B of the question paper and the entire Section C.

SECTION – A

1. Orientation of Indian Folk Theatre with reference to:i) Kathakaliii) Swangiii) Yakshgana

2. Orientation of Asian Theatre with specific reference to Japanese Theatre Forms:i) Nohii) Kabukiiii) Bunraku

SECTION – B3. Study Elizabethan Drama with specific reference to Othello by William

Shakespeare

4. Study Theatre of the Absurd with specific reference to

i) Waiting For Godot by Samuel Beckett

ii) Evam Inderjit by Badal Sircar

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Balwant Gargi, Lok Natak (Punjabi), Publication Bureau, Punjabi University,Patiala,2016

Balwant Gargi,Rangmanch (Punjabi), Navyug Publishers,Delhi,1999

Badal Sircar,Evam Inderjit (Hindi Translation),Pratibha Agarwal,Rajkamal Parkashan,New

Delhi,2014

Faubion Bowers, Theatre in The East, Thomas Nelson and Sons, New York,1960

James R Brandon (Edited), The Cambridge Guide to Asian Theatre, Cambridge University Press,1993 Kapila Vatsyayana, Traditional Indian Theatre: Multiple Streams (Hindi Translation), Badiujzm,

National Book Trust, India, 1995

Samuel Beckett, Waiting for Godot (Hindi Translation), Rajat Kapoor, Chingari, New Delhi

Samuel Beckett, Godo Di Udik (Punjabi Translation), Balram, Publication Bureau, Punjabi

University, Patiala, 2007.

William Shakespeare, Othello (Hindi Translation), Divakar Prashad Vidyarthi, Sahitya

Akademi, New Delhi, 2017.

William Shakespeare, Othello (Punjabi. Translation), Dr. Gopal Singh, World Book Centre,

New Delhi, 1988.

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M.A. THEATRE AND TELEVISION PART-IISEMESTER – III

SESSION: 2017-18

PAPER -II: ACTINGTHEORY



The paper setter is required to set 9 questions in all. The question paper will consist of three sections: A, B and C. Section A and B will have 8 questions and will carry 24 marks. Candidate will attempt 2 questions each from the Sections A and B. Each question will carry 6 marks. Section C will consist of 8 short-answer type questions and will cover the entire syllabus uniformly. It will carry 16 marks. Each question will carry 2 marks.


the question paper and the entire Section C.SECTION – A

1. Concept of Actor Training with specific reference to the following Indian Folk Theatre forms:

i) Jatra ii) Bhavaiiii) Nautanki.

2. Acting in Commedia Dell' Arte.SECTION – B

3. Modern Concept of Actor Training with specific reference to:i) Meyerholdii) Antonin Artaudiii) Jerzy Grotowski

PRACTICAL

Time Allowed: 15 Minutes per student Maximum Marks: 35

Minimum Hours: 30 Pass Marks: 12

Voice and speech exercises. Students will prepare two speeches for the practical examination.

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Alma Law and Mel Gordon, Meyerhold, Eisenstein and Biomechanics, McFarland & Company, Inc.,

Publisher, 2012.

Antonin Artaud, The Theatre and its Double (Translation by Victor Corti), John Calder, London, 1958

Balwant Gargi, Lok Natak(Punjabi), Publication Bureau, Punjabi University,Patiala,2016

Balwant Gargi,Rangmanch(Punjabi), Navyug Publishers,Delhi,1999

Jerzy Grotowski, Towards a Poor Theatre, Eugenio Barba (Edited), Methuen, London, 1986

Kapila Vatsyayana, Traditional Indian Theatre: Multiple Streams (Hindi), Badiujzma , National Book

Trust, India 1995.

Phillip B. Zarilli, Psychological Acting, An Intercultural Approach After Stanislavski, Routledge, 2009

Phillip B.Zarrilli, Acting (Re) Considered, Routledge,1995

Prakash Syal (Dr.) and Navnindra Behl (Dr), Abhinai Kala, Publication Bureau, Punjabi University,

Patiala, 1994

Prasanna, Indian Method in Acting, National School of Drama, New Delhi,2013

Mahesh Anand and Devendra Raj Ankur (Edited), Rangmanch Ke Siddhant, Rajkamal Prakashan, New

Delhi, 2008

Sunita Dhir, Styles of Theatre Acting, Gian Publishing House, New Delhi,1998

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M.A. THEATRE AND TELEVISION PART-II

SEMESTER – IIISESSION: 2017-18

PAPER -III: DIRECTIONTHEORY


INSTRUCTIONS FOR THE PAPER-SETTERThe paper setter is required to set 9 questions in all. The question paper will consist of three sections: A,

B and C. Section A and B will have 8 questions and will carry 24 marks. Candidate will attempt 2 questions each from the Sections A and B. Each question will carry 6 marks. Section C will consist of 8 short-answer type questions and will cover the entire syllabus uniformly. It will carry 16 marks. Each question will carry 2 marks.



1. Study the following from directorial point of view:i) Blocking ii) Composition iii) Role of Actors, Blocking, Set and its levels in a Theatrical

Composition SECTION – B

2. Study the following Indian Directors:i) Sheila Bhatia ii) Habib Tanviriii) B.V.Karanth

PRACTICAL

Time Allowed: 45 Minutes per group Maximum Marks: 35

Minimum Hours: 30 Pass Marks: 12 Students will prepare a scene work for the practical examination.

RECOMMENDED READINGSAtamjit Singh, Natak Da Nirdeshan, Lok Geet Parkashan, Amritsar,1989Bharat Ratna Bhargava, Rang Habib, National School of Drama, New Delhi, 2006

C.N.Ramachandran and Padma Sharma, Here, I Cannot Stay; There I Cannot Go (An Autobiography of

the BV Karanth), National School of Drama,New Delhi,2012

Hugh Morrison, Directing in the Theatre, Adam & Charles, London, 1984

Jaidev Taneja,B.V.KARANT, National School of Drama, New Delhi, 2010

J.N. Kaushal, SHEELA BHATIYA, National School of Drama, New Delhi, 2000.Satish Kumar Verma, Rangkarmian Naal Samvad, Punjab Sangeet Natak Akademi, Chandigarh, 2002.

Surjit Singh Sethi, Sirjnatmic Natik-Nirdeshan, Publication Bureau, Punjabi University Patiala, 1985.

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M.A. THEATRE AND TELEVISION PART-IISEMESTER – III

SESSION: 2017-18

PAPER -IV: STAGE CRAFTTHEORY





the question paper and the entire Section C.

SECTION – A

1. Role of Costumes and Accessories in a Play Production2. Role of Colour Scheme in Costume Design 3. Costume Design for a Realistic and Historical play

SECTION – B

4. Role of Set and Properties in a Play Production

5. Set Design for a Realistic and Non-realistic Play

6. Relationship between Set and Costume Design

PRACTICAL

Time Allowed: 45 Minutes per group Maximum Marks: 35

Minimum Hours: 30 Pass Marks: 12 Students will prepare a scene work for the practical examination.


A.S. Gillette, Stage Scenery: It's Construction and Rigging, Harper & Row, New York, 1972

J.Michael Gilllette, Theatrical Design And Production, Mayfield Publishing Company,1992Kewal Dhaliwal, Rangkarmi Di Teesari Akh,Ravi Sahit Parkashan,Amritsar,2006Motley, Design and Making Stage Costumes, Studio Vista London, 1974Stella Mary Newton, Renaissance Theatre Costume, Rapp & Whiting Limited, London, 1975

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M.A. THEATRE AND TELEVISION PART-IISEMESTER – IV

SESSION: 2017-18

PAPER -V: THEATRE PERSONALITY AND INVOLVEMENTPRACTICAL

Minimum Hours: 120 Maximum Marks: 100

Pass Marks: 35

INSTRUCTIONS FOR THE EXAMINERS

Students will be examined on the basis of their semester production. Completely to be marked by the full teaching staff. Marks will be distributed among the following Categories:

1. Attendance, Punctuality and Discipline : 10 Marks

Attendance marks will be given according to the following criteria. Below 75%: No Marks

75%-80%: 6 Marks 81%-85%: 8 Marks

86%-100%: 10 Marks2. Team Spirit, Initiative and Hard work : 10 Marks

3. Active Participation in Production : 10 Marks

4. Appreciation and Analytical Faculty : 20 Marks

5. Presentation and Viva : 50 Marks

The candidate is expected to give a ten minutes presentation on semester play production. He/ She will be tested on the basis of his/her originality, imagination and personal ideas and approach in his presentation.

TIME ALLOWED FOR EXAMINATION

1. 15 Minutes will be given per student for presentation and viva.

22

SYLLABI

M.A. THEATRE AND TELEVISION PART-II SEMESTER–IV SESSION: 2017-18

PAPER -I: LITERATURE AND HISTORY OF INDIAN TELEVISION


THEORY: 75 INTERNAL ASSESSMENT: 25

PAPER-II: ACTING



PAPER-III: DIRECTION



PAPER-IV: TECHNICAL ASPECTS AND CRAFT OF T.V. PRODUCTIONMAX MARKS: 100 PASS MARKS: 35%


PAPER-V: PRODUCTION PARTICIPATION AND INVOLVEMENT


(For details of Paper-V please see the examination scheme given inside)

23

INSTRUCTIONSFOR


ATTENDANCE




81%-85%: 4 Marks 86%-100%: 5 Marks

TIME ALLOWEDFOR




24


SESSION: 2017-18

PAPER -I: LITERATURE AND HISTORY OF INDIAN TELEVISIONTHEORY



B and C. Section A will have 4 questions and will carry 25 marks. Each question will carry 12.5 marks. Section B will also have 4 questions and will carry 20 marks. Each question will carry 10 marks. Candidate will attempt 2 questions each from the Sections A and B. Section C will consist of 15 short-answer type questions and will cover the entire syllabus uniformly. It will carry 30 marks. Each question will carry 2 marks.



1. Study Punjabi TV Serial Eho Hamara Jeevna directed by Gurbir Singh Grewal

2. Study Tele Film Khara Dudh directed by Sunita Dhir 3. Study the film Marhi Da Diva directed by Surinder Singh

SECTION - B

4. Study the film Haider directed by Vishal Bhardwaj 5. Study the film Pink directed by Shoojit Sircar6. Study TV Docu-drama Bharat Ek Khoj directed by Shyam Benegal


Andre Bazin ,What is Cinema? Vol 1& 2, University of California Press, New York, 2004

Bignell, Johathan, An Introduction to Television, Routledge Publishers, London, 2008.

Desai, Mirak, Television in India: Satellites, Politics-Culture Change, Routledge, New York,

2008.

James Monaco, How to Read a Film, Oxford University Press, New York, 1997Sue Thornham & Tony Purvis, Television Drama, Palgrave Macmillan, 2005

25


SESSION: 2017-18

PAPER-II: ACTINGTHEORY






SECTION - A1. Basic Principles of Television Acting.2. Basic Principles of Radio Acting 3. Compering and Announcing for Radio and Television4. Study Television acting with specific reference to Tele Film Khara Dudh directed by Sunita Dhir

SECTION - B

5. Basic Principles of Film Acting 6. Analysis of Film Acting with specific reference to film Dangal directed by Nitish Tiwari7. Art of Dubbing.8. Comparative Study of Stage, Television, Radio and Film Acting

PRACTICAL

Time Allowed: 15 Minutes per student Maximum Marks: 35 Minimum Hours: 30 Pass Marks: 12

Students will work as actors in semester TV/Film production and will be examined on the basis

of their acting in the production.


Angela Wadia, Film, Television and Radio Production (Elements, Dimensions and Trends),

Kanishka Publishers, New Delhi,2008

Edward and Jean Porter Dmytryk, On Screen Acting, Focal Press, London, 1984

Sanjay Gour, Encyclopedia of Film Making Vol-1 & 2, Yking Books, Jaipur, India, 2011.

Stanley Kahan, Introduction to Acting, Allyn & Bacon, U.S.A, 1985

26


SESSION: 2017-18

PAPER -III: DIRECTIONTHEORY





the question paper and the entire Section C.SECTION - A

1. Methodology of Television/Film Production at various stages.i) Pre-productionii) Productioniii) Post- production

SECTION - B1. Creative Approach in directing from script to final Television/Film Production.

i) Story ii) Screenplayiii) Shooting scriptiv) Shot division

PRACTICALTime Allowed: 45 Minutes per group Maximum Marks: 35 Minimum Hours: 30 Pass Marks: 12

Students will work as directors in semester TV/Film production and will be examined on the basis of their direction in the production.

RECOMMENDED READINGSAngela Wadia, Film, Television and Radio Production (Elements, Dimensions and Trends), Kanishka Publishers, New Delhi,2008David Trottier, The Screenwriter's Bible: A Complete Guide to Writing, Formatting, and Selling Your Script, Silman-James Press, 2005Gerald Millerson, Effective T.V. Production, Focal Press, London, 1997

Herbert Zettl, Television Production Handbook, Thomson Wadsworth, 2005

Michael Rabiger, Directing Film Techniques & Aesthetics, Focal Press, U.S.A., 2013Nicholas T. Proforms, Film Directing Fundamentals, Focal Press, U.S.A., 2005

Pat Cooper & Ken Dancyger, Writing the Short Films, Focal Press, U.S.A. 2005Peter W Ronald B. Tobias, Writing for Screen & Television, Writer’s Digest Books, U.S.A,1997

Rea & David K. Irving, Producing & Directing the Short Film & Video, Focal Press, U.S.A.,1995

Ralph Donald & Thomas Spann, Fundamentals of Television Production, Blackwell Publishing,2000

Sanjay Gour, Encyclopedia of Film Making Vol-1 & 2, Yking Books, Jaipur, India, 2011.

27


SEMESTER – IVSESSION: 2017-18

PAPER -IV: TECHNICAL ASPECTS AND CRAFT OF TV PRODUCTION THEORY



The paper setter is required to set 9 questions in all. The question paper will consist of three sections: A, B and C. Section A and B will have 8 questions and will carry 24 marks. Candidate will attempt 2 questions each from the Sections A and B. Each question will carry 6 marks. Section C will consist of 8 short-answer type questions and will cover the entire syllabus uniformly. It will carry 16 marks. Each question will carry 2 marks.



SECTION – A1. Study Art Direction with specific reference to Punjabi Serial Eho Hamara Jeevna directed by

Gurbir Singh Grewal 2. Study Costume Design with specific reference to film Jodha Akbar directed by Ashutosh

Gowarikar

SECTION – B

3. Study Costume , Accessory, Make-up and Hair Design with specific reference to film Guzarish directed by Sanjay Leela Bansali

4. Study Art Direction with specific reference to Tele Film Khara Dudh directed by Sunita Dhir

PRACTICALTime Allowed: 45 Minutes per group Maximum Marks: 35 Minimum Hours: 30 Pass Marks: 12

Students will work as designers in semester TV/Film production and will be examined on the basis of their design in the production.


Andre Bazin ,What is Cinema? Vol 1& 2, University of California Press, New York, 2004

Bastian Cleve, Film Production Management, Focal Press, 2003Bignell, Johathan, An Introduction to Television, Routledge Publishers, London, 2008.

Desai, Mirak, Television in India: Satellites, Politics-Culture Change, Routledge, New York,

2008.

James Monaco, How to Read a Film, Oxford University Press, New York, 1997Michael Rabiger, Directing Film Techniques & Aesthetics, Focal Press, U.S.A., 2013Sue Thornham & Tony Purvis, Television Drama, Palgrave Macmillan, 200

28


SEMESTER – IVSESSION: 2017-18

PAPER -V: PRODUCTION PARTICIPATION AND INVOLVEMENTPRACTICAL

Minimum Hours: 120 Maximum Marks: 100

Pass Marks: 35

INSTRUCTIONS FOR THE EXAMINERS

Students will be examined on the basis of their semester production. Completely to be marked by the full teaching staff. Marks will be distributed among the following Categories:

1. Attendance, Punctuality and Discipline : 10 Marks

Attendance marks will be given according to the following criteria. Below 75%: No Marks

75%-80%: 6 Marks 81%-85%: 8 Marks

86%-100%: 10 Marks2. Team Spirit, Initiative and Hard work : 10 Marks

3. Active Participation in Production : 10 Marks

4. Appreciation and Analytical Faculty : 20 Marks

5. Presentation and Viva : 50 Marks

The candidate is expected to give a ten minutes presentation on semester play production. He/ She will be tested on the basis of his/her originality, imagination and personal ideas and approach in his presentation.

TIME ALLOWED FOR EXAMINATION

1. 15 Minutes will be given per student for presentation and viva.

29

DEPARTMENT OF THEATRE AND TELEVISION

SYLLABISESSION: 2017-18, 2018-19

COURSE-OPEN ELECTIVE (QUALIFYING)

(UNDER CHOICE BASED CREDIT SYSTEM-CBCS)

SEMESTER II & IV

The syllabi is designed completely according to the CBCS guidelines by keeping 60:40 weightage in the

proposed components (75 = 45:30). Board of Studies passed to keep 46 marks for the ESE and 29 marks for

the CCA to maintain uniformity in the division of marks of ESE.

Maximum Marks: 75 Course Credits: 3 (Minimum Hours: 45)Pass Marks: 26 (35%) End Semester Examination (ESE): 46 Marks

Continuous Comprehensive Assessment (CCA): 29 Marks

INTRODUCTION TO DRAMATICS

Unit –I

1. Introduction to the Art of Theatre

2. Elements of Theatre

Unit –II

3. Elements of a Play

4. Study the Play Nawan Janam by Gursharan Singh

Unit –III

5. Introduction to Folk Theatre

6. Study Folk Theatre Naqual

Unit –IV

7. Introduction to the Art of Acting

8. Tools of an Actor

30

COURSE ASSESSMENT METHODS

1.

END SEMESTER EXAMINATIONTime Allowed: 3 Hours Maximum Marks: 46

Pass Marks: 16


The paper setter is required to set nine questions in all. Question 1 will contain seven short answer type questions each of 2 marks. It will cover the entire syllabus uniformly and carry 14 marks. Unit I, II, III and IV will have 8 questions and carry 32 marks. Each question will carry 8 marks.

INSTRUCTIONS FOR THE CANDIDATES

Candidates are required to attempt 5 questions. Question 1 is compulsory. For further four questions candidates will select one question each from the Units I, II, III and IV of the question paper.

2.

CONTINOUS COMREHESIVE ASSESSMENT


The department will display a date sheet on the notice board in the beginning of the semester as under:

20 Marks: MST. There will be 2 minor sessional tests. Each MST will be of one hour. 05 Marks: Assignment. Students will be given an improvisation for enactment.04 Marks: Attendance. These marks will be given according to the following criteria.

Below 75%: No Marks 75%-80%: 1 Mark

81%-85%: 2 Marks 86%-100%: 4 Marks

INSTRUCTIONS AND TIME ALLOWED FOR

CCA EXAMINATION


2. 30 minutes will be given to the assignment evaluation.

3. 1:30 hours will be given to the result compilation of CCA.

4. 1:30 hours will be given to the attendance compilation of this paper.

31


B. Nicoll, Theory of Drama, Doaba House, New Delhi

Balwant Gargi, Lok Natak (Punjabi), Publication Bureau, Punjabi University, Patiala, 2016

Balwant Gargi, Rangmanch (Punjabi), Navyug Publishers,Delhi,1999

Gursharan Singh,Nawan Janam,Chetna Parkashan,Ludhiana,2007

Gursharan Singh, Pratinidhi Natak (Hindi Translation by Parmanand Shastri), Aadhar Prakashan,Panchkula(Haryana), 2012

Kapila Vatsyayana, Traditional Indian Theatre: Multiple Streams (Hindi Translation), Badiujzm,

National Book Trust, India, 1995

O.G. Brockett, The Essential Theatre, Wadsworth & Thomson, U.S.A, 2004

Prakash Syal (Dr.) and Navnindra Behl (Dr), Abhinai Kala, Publication Bureau, Punjabi University, Patiala, 1994Surjit Singh Sethi, Natak Kala, Lok Geet Parkashan, Chandigarh, 2005

Dr. Jaspal Kaur Deol Head and Chairperson

Board of StudiesTheatre and Television

pupdepartments.ac.inpupdepartments.ac.in/syllabi/academic session 2017-18... · web viewpunjabi...

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