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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

For the Examination 2019-20

And

COURSE-OPEN ELECTIVE (QUALIFYING)

(UNDER CHOICE BASED CREDIT SYSTEM-CBCS)

SEMESTER-II & IV

For the Examination 2019-20

©The Registrar, Punjabi University, PatialaAll Rights Reserved.

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M.A. THEATRE AND TELEVISIONSESSION: 2019-20

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 in three semesters and provide an orientation of television and films in forth semester. 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.A-ISem-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 THEATRE DESIGN

TTVP 104 5 50 50 100 0:0:10

Total 20 248 152 400 30

M.A-ISem-II


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 PLAY PRODUCTION TTVP 107 5 0 100 100 0:0:10

Core-8 PRODUCTION DESIGN AND MANAGEMENT

TTVP 108 5 0 100 100 0:0:10

Total 20 148 252 400 30

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

Total Marks

(Hours/ Week)L+ T+ P

M.A-IISem-III


Core- 9 INDIAN CLASSICAL THEATRE

TTVT 109 5 74 26 100 4:1:0

Core- 10 INDIAN FOLK AND MODERN THEATRE

TTVT 110 5 74 26 100 4:1:0

Core-11 PRODUCTION PROJECT

TTVP 111 5 100 0 100 0:0:10

Core-12 PRODUCTIONANALYSIS AND VIVA

TTVP 112 5 50 50 100 0:0:10

Total 20 298 102 400 30

M.A-IISem-IV


Core- 13 RESEARCH METHODOLOGY

TTVT 113 5 74 26 100 4:1:0

Core- 14 SCREEN ACTING TTVT 114 5 74 26 100 4:1:0

Core-15 TELEVISION AND FILM APPRECIATION

TTVP 115 5 50 50 100 0:0:10

Core-16 FILM PRODUCTIOM TTVP 116 5 50 50 100 0:0:10

Total 20 248 152 400 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 & II

SEMESTER – I

PAPER - I : THEATRE ORIENTATION

PAPER- II : PUNJABI DRAMA AND THEATRE

PAPER- III : ACTING ORIENTATION

PAPER- IV : FUNDAMENTALS OF THEATRE DESIGN

SEMESTER - II

PAPER -V : WESTERN DRAMA AND ARCHITECTURE

PAPER- VI : WESTERN THEATRE

PAPER- VII : PLAY PRODUCTION

PAPER- VIII : PRODUCTION DESIGN AND MANAGEMENT

SEMESTER – III

PAPER -IX : INDIAN CLASSICAL THEATRE

PAPER- X : INDIAN FOLK AND MODERN THEATRE

PAPER- XI : PRODUCTION PROJECT

PAPER- XII : PRODUCTION ANALYSIS AND VIVA

SEMESTER - IV

PAPER -XIII : RESEARCH METHODOLOGY

PAPER- XIV : SCREEN ACTING

PAPER- XV : TELEVISION AND FILM APPRECIATION

PAPER- XVI: FILM PRODUCTION

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INSTRUCTIONSFOR

INTERNAL ASSESSMENT OF THEORY PAPERS

WRITTEN ASSIGNMENTS 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

Note: Practical Paper’s Assignment dates will also be notified along with this date sheet.

TIME ALLOWEDFOR

INTERNAL ASSESSMENT EXAMINATION

ANDWRITTEN ASSIGNMENTS

1. 20 minutes will be given to paper setting, 1 hour to invigilation and 20 minutes per paper to the evaluation of each MST.

2. 20 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: 2019-20

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 with special reference to Aristotelian Theory

3. Relationship between Theatre and DramaSECTION – B

An Overview of the following: 4. Indian Theatre5. Asian Theatre 6. Western Theatre

BOOKS PRESCRIBED AND RECOMMEDED READINGS

Adya Rangacharya, Bharti Rangmanch (Punjabi Translation), Gurmakh Singh Sehgal , National Book Trust, India, 1988A. Nicoll, Theory of Drama, Doaba House, New DelhiAristotle, Kavya Shashtra (Punjabi Translation), Harbhajan Singh,S.Chand and Company,Lahore Book Shop, Ludhiana Balwant 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 Faubion Bowers, Theatre in The East, Thomas Nelson and Sons, New York,1960

Jai Dev Taneja, Adhunik Bhartiya Natya Vimarsh, Radha Krishan Parkashan, New Delhi, 2010James R Brandon (Edited), The Cambridge Guide to Asian Theatre, Cambridge University Press,1993 Jonnie 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, 2004O.G. Brockett, History of the Theatre, Allyn and Bacon, 1999Surjit Singh Sethi, Natak Kala,Lok Geet Parkashan, Chandigarh, 2005

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SESSION: 2019-20

PAPER -II: PUNJABI DRAMA AND THEATRETHEORY






SECTION – A1. History of Punjabi Drama and Theatre: 1900-19472. Subhadra by IC Nanda3. History of Punjabi Drama and Theatre with specific reference to IPTA: 1947-19604. Opera Heer Ranjha by Sheila Bhatia

SECTION – B5. History of Punjabi Drama and Theatre: 1960-19806. Gagan Meh Thal by Balwant Gargi7. History of Punjabi Drama and Theatre: 1980-20008. Ik See Manto by Kewal Dhaliwal

BOOKS PRESCRIBED AND RECOMMENDED READINGSBalwant Gargi, Gagan Meh Thal, Navyug Publishers, New Delhi, 1994Sare De Sare Natak Ishwar Chandar Nanda, Harcharan Singh (Edited), Publication Bureau, Punjabi University, Patiala, 1971Dr.Gurdial Singh Phul, Panjabi Natak:Sarup, Sidhant Te Vikas, Publication Bureau, Punjabi University,Patiala, 1998IPTA Lehar Dee Punjab Vich Dastak, Kewal Dhaliwal (Edited), Punjab Sungeet Natak Academy, Chandigarh, 2015Kewal Dhaliwal, Ik See Manto, Ravi Sahit Prakashan, Amritsar, 2013Kewal Dhaliwal, Rangmanch Punjab Itihas Dian Paidan, Ravi Sahit Prakashan, Amritsar, 2019Sabinderjit 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, 2009 Sheela Bhatia De Opere, Satish Kumar Verma(ed.), Shri Prakashan,Delhi,2016

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SESSION: 2019-20

PAPER-III: ACTING ORIENTATIONPRACTICAL

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

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.

2. Voice: Voice Culture and Projection, Recitation of Om and Vowels, Breathing Exercises, Pronunciation of Punjabi, Hindi and English Consonants and syllables.

SECTION-B3. 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: Loha Kutt by Balwant Gargi, Loona by Shiv Kumar Batalvi, Sat Bagane by Ajmer Singh Aulakh, Kal Ajj Te Bhalak by Harcharan Singh, Qatra Qatra Zindgi by Davinder Daman, Mungu Comrade by AtamjitHindi: 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: 5-7 Minutes1 Narrative: 5-7 Minutes1 Dialogue (2- 4 actors): 8-10 Minutes

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

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BOOKS PRESCRIBED AND RECOMMENDED READINGS

A.Mangai, Acting Up-Gender and Theatre in India 1979 Onwards, LeftWord, India,2015Ajmer Singh Aulakh,Sat Bagane, Lokgeet Parkashan,Chandigarh,2004Atamjit, Mungu Comrade, Lokgeet Parkashan, Chandigarh, 2010Balwant Gargi, Loha Kutt, Navyug Publishers, New Delhi, 2002Bertram 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,1994Harcharan 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,2000New 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,2013Shiv Kumar Batalvi, Loona, Waris Shah Foundation,Amritsar, 2003Stanley Kahan, Introduction to Acting, Allyn and Bacon,Inc.,1985Vimala 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: 2019-20

PAPER–IV: FUMDAMENTALS OF THEATRE DESIGN PRACTICAL


SECTION-A1. Design: Concept and Elements2. Principles of Design3. Fundamentals of Costume Design4. Fundamentals of Set Design

SECTION-B5. Lighting: Role, Functions and Controllable Properties6. Lighting: Equipment and Execution 7. Make up: Role and Types8. Make up: Material and Execution


Each student will prepare and submit a design project book. Students in groups will design scenes. 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 Design and Viva: 50 Marks

TIME ALLOWED FOR EXAMINATION

1. 1 hour will be given to the evaluation of each design project book.2. 45 minutes will be given per group for Scene Design and viva.


David Welker, Theatrical Set Design-the basic techniques, Allyn and Bacon,Inc.,Boston,1979Douglas Young, Create Your Own Stage Faces, Bell & Hyman Limited, London, 1985 G.N.Dasgupta, Guide to Stage Lighting, Annapurna Dasgupta, New Delhi,1986 Hunston D. Sellman & Merrill Lessley, Essential of Stage Lighting, Prentice Hall, U.S.A, 1982J.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, 1974

Richard Pilbrow, Stage Lighting, Studio Vista, London, 1976

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

SESSION: 2019-20

PAPER-V: WESTERN DRAMA AND ARCHITECTURE THEORY


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 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.



SECTION–A1. Aristotle’s Concept of Three Unities and Theory of Catharsis 2. Medea by Euripides 3. Epidaurus 4. Globe Theatre 5. Othello by William Shakespeare

SECTION–B6. Doll’s House by Henrik Ibsen7. Proscenium Theatre 8. Bertolt Brecht: Dramatic Theatre versus Epic Theatre9. Augusto Boal’s Forum Theatre


Aristotle, Kavya Shashtra (Punjabi Translation), Harbhajan Singh,S.Chand and Company,Lahore Book Shop, Ludhiana Augusto Boal, Theatre of the Oppressed, New York:Theatre Communications Group,1985 Donald Oenslager, Stage Design, Thames & Hudson, London, 1975Yuipidiz, Medea (Hindi Translation) Devendra Raj Ankur,Vani Prakashan, New Delhi,2003 Henrik Ibsen, Doll’s House (Punjabi Translation), Dr.Surjit Singh Sethi, Bhasa Vibhag Punjab, Patiala, 1975John Willet (Edited & Translated), Brecht on Theatre, Methuen Drama, London, 1964 Juliet Rufford, Theatre & Architecture,Palgrave Macmillan,2015Mahesh 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,1964William Shakespeare, Othello (Hindi Translation), Divakar Prasad Vidyarthi,Sahitya Akademi,New Delhi,2017William Shakespeare, Othello (Punjabi Translation), Dr.Gopal Singh,World Book Centre,1988

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SESSION: 2019-20

PAPER-VI: WESTERN THEATRETHEORY






SECTION–A1. Acting in Commedia Dell' Arte.2. Stanislavski’s Method Acting and Concept of Fourth Wall3. Meyerhold’s Theory of Bio-mechanics4. Bertolt Brecht’s Epic Acting Theory5. The Caucasian Chalk Circle by Bertolt Brecht

SECTION-B6. Antonin Artaud’s Theatre of Cruelty7. Jerzy Grotowski’s Poor Theatre8. Theatre of the Absurd 9. Waiting for Godot by Samuel BeckettBOOKS PRESCRIBED AND RECOMMENDED READINGS

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, 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, 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, 1994Samuel Beckett, Waiting for Godot (Hindi Translation), Rajat Kapoor, Chigari, New DelhiSamuel Beckett, Godo Di Udik, (Punjabi Translation), Balram, Publication Bureau, Punjabi University, Patiala, 2007Sonia 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: 2019-20

PAPER- VII: PLAY PRODUCTION PRACTICAL


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


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: 24 Marks3. Acting & Direction(Promptness, Creativity and Performance): 70 Marks


Alexander Dean, Lawrence Carra, Fundamentals of Play Directing, Holt, Rinehart And Winston,1980Atamjit Singh, Natak Da Nirdeshan, Lok Geet Parkashan, Amritsar,1989Hugh Morrison, Directing in the Theatre, Adam & Charles, London, 1984

Irving Warde, Impro-Improvisation and the Theatre, Methuen, London,1982

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

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

1965

John Harrop, Acting, Routledge, 1992J.Michael Gilllette, Theatrical Design And Production, Mayfield Publishing Company,1992

Laurence Olivier On Acting, Sceptre, London, 1987Prasanna, Indian Method in Acting, National School of Drama, New Delhi,2013Stanley Kahan, Introduction to Acting, Allyn and Bacon,Inc.,1985Surjit Singh Sethi, Sirjnatmic Natak-Nirdeshan, Publication Bureau, Punjabi University, Patiala, 1985Vimala Herman, Dramatic Discourse (Dialogue as Interaction in Plays), Routledge, London, 1995William Hobbs, Techniques of the Stage Fight, Studio Vista Ltd, London, 1967

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SESSION: 2019-20

PAPER-VIII: PRODUCTION DESIGN AND MANAGEMENTPRACTICAL


Paper-VII & Paper-VIII will be taught in collaboration. All students will work in the play production and learn production design and 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 creative and analytical faculties of the students in production design and management.

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. Coordination and Management: 24 Marks3. Production Design (Set, Properties, Costumes, Accessories, Light and

Sound, Make-up, Publicity): 70 Marks


Alexander Dean, Lawrence Carra, Fundamentals of Play Directing, Holt, Rinehart And Winston,1980David Welker, Theatrical Set Design-the basic techniques, Allyn and Bacon,Inc.,Boston,1979Douglas Young, Create Your Own Stage Faces, Bell & Hyman Limited, London, 1985Donald Oenslager, Stage Design, Thames & Hudson, London, 1975G.N.Dasgupta, Guide to Stage Lighting, Annapurna Dasgupta, New Delhi,1986 Hunston D. Sellman & Merrill Lessley, Essential of Stage Lighting, Prentice Hall, U.S.A, 1982Hugh Morrison, Directing in the Theatre, Adam & Charles, London, 1984John Gassner, Producing The Play, Holt, Rinehart and Winston, Inc., 1953

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

Kewal 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, 1976

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

SESSION: 2019-20

PAPER-IX: INDIAN CLASSICAL THEATRE THEORY






SECTION – A1. Natya: Origin and Eleven Elements2. Dasharupaka Vidhan3. Classification of Nayak and Nayaka4. Rang Mandapa

SECTION – B5. Concept of Bhava6. Theory of Rasa7. Concept of Abhinaya8. Abhigian Shakuntalam by Kalidasa


Bharttendu (Dr.), Natyashastra Men Angika Abhinaya, Vishvabharati Research Institute,Gyanpur (Varanasi) U.P. India, 1990

Bhart Muni, Natya-Shastra (Punjabi Translation) Dr. G.N.Rajguru, Publication Bureau, Punjabi. University,

Patiala, 1985.

H.V. Sharma,caturasra madhyama natyamandapa, National School of Drama, New Delhi, 2001.

Jaidayal, Natyashastra Aur Abhinaya Kala, Abhiruchi Prakashan, Delhi, 1998.

Kalidasa , Shakuntal, (Hindi Translation),Mohan Rakesh, National School of Drama, New Delhi, 1999.

Kalidasa the Loom of Time (Translated and Edited).Chandra Rajan, Penguin Books, 1999.

Kapila Vatsyayan, Bharata the Natyasastra, Sahitya Akademi, New Delhi, 2003.

P.S.R. Appa Rao (Dr.), Special Aspects of Natya Sastra, (English Translation), H.V. Sharma, N.S.D., New

Delhi,2001.

Kalidaasa, Shakuntala (Punjabi Translation), Dr.Baldev Singh Baddan,Shilalekh,Delhi,2013

Surendera Nath Dixit (Dr.), Bharat Aur Bhartia Natyakala, Motilal Banarasi Das, Delhi 1989.

The Natyasastra (English Translation), Adya Ransacharya, Munshiram Manoharlal Publishers Pvt. Ltd., 2007

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M.A. THEATRE AND TELEVISION PART-II

SEMESTER-IIISESSION: 2019-20

PAPER -X: INDIAN FOLK AND MODERN THEATRETHEORY






SECTION – AStudy the following Folk Theatre Forms:

1. Naqual and Sawang 2. Nautanki 3. Jatra 4. Yakshgana

5. Bhavai 6. KathakaliSECTION – B

Study the following modern Indian plays: 1. Ashad Ka Ek Din by Mohan Rakesh2. Tughlaq by Girish Karnad 3. Evam Inderjit by Badal Sircal4. Contribution of the following Modern Indian Theatre Directors

i) Ebrahim Alkazi ii) BV Karanth iii) Habib TanvirBOOKS PRESCRIBED AND RECOMMENDED READINGS

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 Agrawal, Rajkamal Parkashan,New

Delhi, 2014

Bharat 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

Girish Karnad, Tughlaq (Hindi), Radhakrishan, Delhi, 2005Girish Karnad, Tughlaq (English), Oxford University, Press, 1994Indian Drama in Retrospect, Sangeet Natak Akademi and Hope India Publications, 2007Jaidev Taneja, B.V.KARANT, National School of Drama, New Delhi, 2010

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

National Book Trust, India, 1995

Mohan Rakesh, Ashaad Ka Ek Din, Rajpal and Sons, Dehli, 2004

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SESSION: 2019-20

PAPER-XI: PRODUCTION PROJECT PRACTICAL


INSTRUCTIONS FOR THE STUDENTSStudents will prepare and present a play production (30-60 minutes) with the available resources. There

will be teacher mentors. The project is introduced to understand the whole process of a production independently. Students can adapt, evolve and write a new script. The selection of the play, director, stage manager and designers will be done by students. They will submit their list to Head of the Department in writing. After submission they can’t change it. If teacher mentor finds that class is not working on the project seriously, he will inform Head of the department and after faculty meeting production will be passed on to a teacher.

Play Production will be staged for public on the recommendation of the Examiner and Mentor.


1. Paper-XI & Paper-XII will be evaluated/ examined in collaboration.2. Attendance will be marked and certified by mentor teachers.3. Production will be evaluated by the external examiner along with the entire faculty.

i). Attendance: 06 Marks ii). Acting, Design and Direction: 94 Marks


1. Production Duration: 30-60 minutes


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., New York,

1965

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

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SESSION: 2019-20

PAPER–XII: PRODUCTION ANALYSIS AND VIVAPRACTICAL



1. Paper-XI & Paper-XII will be evaluated/examined in collaboration.2. Attendance will be marked and certified by mentor teachers3. Production Management will be evaluated by Mentor Teacher.

1. Continuous Comprehensive Assessment: 50 Marksi). Attendance: 06 Marks ii). Production Management: 44 Marks

2. External Assessment: 50 Marks i). Discourse and viva: 50 Marks


1. 15-20 minutes will be given per student for discourse and viva.

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

SESSION: 2019-20

PAPER-XIII: RESEARCH METHODOLOGY THEORY






Section-A

1. Research: Definition, Objectives and Types2. Sources of Research: in particular context of theatre

Manuscripts, Texts and Reference Books, Sculptures, Frescos and PaintingsPerformances, Discs and Tapes, Documentaries, Posters and BrochuresInternet, Press Reviews

3. Ethics in ResearchSection-B

4 . Research Design: Selection of the Problem, Review of Literature, Hypothesis, Contents, Footnotes, References, Bibliography

5. Means of Data Collection: Observation, Interview, Questionnaire


Anderson, Johathan and Others, Thesis and Assignment Writing, Willely Easterna Pvt.Ltd.New Delhi, 1971

Bose, Pardip Kumar, Research Methodology, New Delhi, ICSSR, 1995Creswell, John W, Research Design, Sage Publishers, New Delhi, 2002Mukul Gupta, Deepa Gupta, Research Methodology, PHI Learning Private Limited, New Delhi,2011 Ranjit Kumar, Research Methodology, Pearson, 2011Ross, Robret, Research: An Introduction, Barne and Nobles Book, New York, 1974ArSI,gurcrn isMG,Koj dI pRikrqI,ivDI Aqy pMjwbI ivc Koj dIAW sImwvW qy sMBwvnwvW,Koj-ivDI goStI AMk, BwSw ivBwg pMjwb,pitAwlw,1984kysr isMG kysr,Koj-icMqn(sMpwdk:jsvIr kysr),lokgIq pRkwSn,cMfIgVH,2006ipAwr isMG,Koj isDWq qy ivvhwr,pblIkySn ibaUro,pMjwbI XUnIvristI,pitAwlwDrm isMG,pMjwbI Koj sMdrB,rvI swihq pkRwSn,AMimRqsr,2008


20

SEMESTER-IVSESSION: 2019-20

PAPER-XIV: SCREEN ACTINGTHEORY






SECTION - A1. Basic Principles of Television Acting.2. Study television acting with specific reference to the following tele films:i). Khara Dudh by Sunita Dhirii). Tuttu by GS Channi and Harleen Kohliiii) King Lear by Jonathan Miller

SECTION - B3. Basic Principles of Film Acting 4. Art of Dubbing.5. Study film acting with specific reference to the following films: i). Marhi Da Diva by Surinder Singh ii). Pushpak by Sangeetam Srinivasa Rao

iii) The Lunch Box by Ritesh Batra


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

Kanishka Publishers, New Delhi, 2008

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

David Bordwell, Kristin Thompson, Film Art an Introduction, Mc Graw Hill, 2004Edward and Jean Porter Dmytryk, On Screen Acting, Focal Press, London, 1984

James Monaco, How to Read a Film, Oxford University Press, New York, 1997Ralph Donald & Thomas Spann, Fundamentals of Television Production, Blackwell Publishing, 2000Sanjay Gour, Encyclopedia of Film Making Vol-1 & 2, Yking Books, Jaipur, India, 2011.

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


21

SEMESTER-IVSESSION: 2019-20

PAPER-XV: TELEVISION AND FILM APPRECIATIONPRACTICAL


Section-A1. Film Analysis: Mise-n-Scene and Its Elements

Composition, Perspective, Setting, Properties, Lighting, Costume, Make up and Performance of the Actors

2. Reading and viewing of the following television serial:i) Kirdaar by Gulzar

Section-B3. Reading and viewing of the following tele films and films

i). Chilkana Camp by GS Channi & Harleen Kohliii Chan Pardesi by Chitrartha Singh

iii). Anhe Ghore Da Dann By Gurvinder Singhiv). Pather Panchali by Satyajit Ray

v). Meghe Dakha Tara by Ritwik Ghatak vi). Gurdial Singh Ji- A Documentary by GS Channi


Each student will write and submit two assignments on any one of the prescribed serials, tele films and films in this paper in minimum 3500-4000 words.

` 1. Continuous Comprehensive Assessment: 50 Marksi). Attendance: 06 Marks ii). 2 Assignments: 44 Marks

2. External Assessment: 50 Marks i). Viva & TV/Film Appreciation: 50 Marks


1. 15-20 minutes will be given per student for viva and TV/Film Appreciation.

BOOKS PRESCRIBED AND RECOMMENDED READINGSAngela Wadia, Film, Television and Radio Production (Elements, Dimensions and Trends), Kanishka Publishers, New Delhi, 2008Andre Bazin ,What is Cinema? Vol 1& 2, University of California Press, New York, 2004

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

David Bordwell, Kristin Thompson, Film Art an Introduction, Mc Graw Hill, 2004James Monaco, How to Read a Film, Oxford University Press, New York, 1997

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

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

22

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

SESSION: 2019-20

PAPER–XVI: FILM PRODUCTIONPRACTICAL

Minimum Hours: 120 Maximum Marks: 100 Pass Marks: 35Students in groups will make short films of duration 3-5 minutes. One Group will have

10-14 students. Each group will submit a typed copy of the Screen Play. Section-A

1. Visual Grammar: Frames, Shots, Camera Angles and Movements2. Pre-production: i.) Idea ii) Story iii) Screen Play iv) Shot Divisionv) Cast and Crew vi) Selection of Locations

Section-B3. Production: Shooting4. Post- production: Editing, Dubbing, Mixing and Publicity

INSTRUCTIONS FOR THE EXAMINER AND EXAMINATION 1. Continuous Comprehensive Assessment: 50 Marks

i). Attendance: 06 Marks ii). Production Participation: 44 Marks

2. External Assessment: 50 Marks i). Film Screening and Viva: 50 Marks


1. One group will be given 1 hour for screening and discussion.


Asgar Wazahat,Vyavaharik Nirdeshika: PatKatha Lekhan, Rajkamal Prakashan, Pvt. Ltd.,2011 Bastian Cleve, Film Production Management, Focal Press, 2003David Trottier, The Screenwriter's Bible: A Complete Guide to Writing, Formatting, and Selling Your Script, Silman-James Press, 2005Herbert Zettl, Television Production Handbook, Thomson Wadsworth, 2005

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

Patrica Cooper & Ken Dancyger, Writing the Short Films, Focal Press, U.S.A. 2005Ronald B. Tobias, The Insider’s Guide to Writing for Screen and Television, Writer’s Digest Books,

U.S.A,1997

Peter W. 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.

Lew Hunter, Screenwriting, A Perigee Book, The Penguin Group, USA, 1993 Manohar Shyam Joshi, Patkatha Lekhan: Ek Parichaya, Rajkamal Prakashan,Pvt. Ltd.,2011 Syd Field, Screenplay, A Dell Trade Paperback, Dell Publishing, New York, 1994

23

DEPARTMENT OF THEATRE AND TELEVISIONSYLLABI

SESSION: 2019-20

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 Gagan Meh Thal by Balwant Gargi

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

24

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.

CONTINUOUS COMPREHENSIVE ASSESSMENT

Maximum Marks: 29 Pass Marks: 10

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

1. 30 minutes will be given to paper setting, 1 hour to invigilation and 20 minutes per paper to the evaluation of each MST.

2. 20 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.

25


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

Balwant Gargi, Gagan Meh Thal, Navyug Publishers, New Delhi, 1994Kapila 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

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