Post Graduate Degree Course in Theatre Arts

Syllabus for

Post graduate degree course in theatre arts

(Two years duration)

Theory of drama paper – I

1. DETAILED STUI)Y OF FORMS OF INDIAN TRADITIONAL THEATRE ESPECIALLY SOUTHERN REGIONS. .

- Creative use of Yakshagan, Kuttivaram etc.

2. CRITICAL STUDY OF MODERN INDIAN DRAMA

- Through plays written by accomplished playwrights of particular region.

- Plays: One Mythological, One Social and one Historical play.

3. STUDY OF AMERICAN PLAYS

- Arthur Miller - Death of a Salesman, All my sons

- Eugene O’Neil; - The Iceman Cometh

- Tennessee Williams - A street car named desire

Desire under the elms.

4. STUDY OF CONTEMPORARY PLAYS BY INDIAN NRI’S AND CANADIAN PLAYS.

- Major Playwrights and their contribution in the development of Drama.

5. UNDERSTANDING OFTHE ALLIED MEDIA.

- Characteristics of Radio and TV as media.

- Writing script for Radio and TV

- Adaptation of a short story for Radio and TV

THEORYOEDRAMA PAPER.-II ACTING

Max Marks 100

1.  Comparative study of Actor-character and Actor-Audience relationship in respect of Bharata, Stanislavsky, Meyerhold, Brecht and Grotowsky

2.  Comparative study of Various forms of Asian Theatre from acting’s point of view viz. Kabuki and I athakali, Pecking Opera and Sanskrit Theatre.

3.  Study of relationship among Nritta, Nritya and Natya. Salient features of Acting in Dance- Drama forms of India viz. Kutiyattam, Yakshagan etc.

4.  Detailed study of Commedia Dell’art as Actor’s Theatre.

5.  Acting tin TV Film and Radio and other forms of Mass-Media.

THEORY OF DRAMA PAPER - III

‘PRODUCTION, DIRECTION & THEATRE TECHNIQUE.”

Max. Marks100

1. IDEAS ON PRODUCTION BY 20

Duke of Saxe Meiningen / Stanislavsky /

Ellia Kazan/Andre Antoine.

2. IDEAS ON PRODUCTION BY Meyerhold / Brecht / Grotowskv/ Peter Brook

3. a. The aesthetic principles & corwéntirins of play production in Indian, Japanese and Chinese Theatre.

b. The concept of Total theatre and salient features of the Indian regional theatre from the point of view of ‘Total theatre.

4. Trends & traditions of modern Indian theatre, wIth reference to Sambhu Mitra j Habib Tanveer / E. Alkazi / B.V. Karanth / K.N. Panikar- / Vijaya Mehta / Jashwant Thakar 20

5. Approach to production of 20

a. Classical / Modern Indian play

- Shakuntal - Pratima - Mruchhakatikam

- Andhayug - Jasma Odan - Hayavadan - Ghasbiram Kotwal - Koi Pan Ek Phulnu Naam Bob Comparative study and approach to production of Stage / Radio / Television.

PRACTICAL PAPER – I ACTING

A. VOICE AND SPEECH

1.  Preparing [transforming] a short story as a monologue.

2.  Preparing scenes as a Radio play from Sanskrit, Hindi plays and Tagore’s translated plays.

3.  Creating a scene by using universal language of sounds.

4.  Preparation of a complex character as an exercise for vachika abhinava.

5.  Recording of a scene or act of the play as a Radio play.

B. BODY MOVEMENT

1.  Emotion exercise through music and make scenes.

2.  Exercise for placing the actor in different situations.

3.  External aids and creative approach, Atmosphere,

4.  Tempo, Rhythm, Music through the body movement.

5.  Preparation of a play based on body movements through music or without music.

C. IMPROVISATION

1.  To prepare a complete life sketch of the Character by work on role analysis through Improvisation.

2.  Developing a script through improvisation by taking contemporary subjects.

3.  To develop a concrete language of body science, suitable for the enactment of a play in production.

4.  Scene work - To prepare scenes through movements, gestures, voice patterns and speech for selected scenes from different plays.

5.  Improvisation of themes in folk and creative theatre forms viz. Bhavai, Children theatre, street theatre etc.

PRACTICAL PAPER – II PRODUCTION

A. DIRECTION

1. Work on innovative production techniques of different styles of production.

a. Classical

b. Realistic

c. Non Realistic

B. STAGE CRAFT

1.  MAKE UP

Make up in different media - Stage, T.V and FiIm

2.  SETTING

Preparing workshop design of the Set.

3.  LIGHTING

Designing and creating special light effects through house hold properties,

4.  MASKS:

Mask making from waste materials.

5.  COSTUMES

Planning costumes and preparing colour plates for the costumes.

6.  SOUND EFFECTS

Designing and planning different types of sound effects from human voices.