Rabindra Nritya Visharad Final Syllabus In English
Rabindra Nritya
Exam marks
Total Marks: 300
Theory– 100
Practical-200
First Paper – 50
Second Paper – 50
Practical -125
Stage performance :25
Theory
First Paper
(1). Criticism of the Sanjivta “s Lakshan of Chhand and taal of sangeet.
(2). Qualities of skilled dancer and dancer of Rabindra dance.
(3).Speciality of Rabindra dance style.
(4).Knowledge of the purpose of stage lighting in Rabindra Nritya.
(5). Planning of ‘Natir Pooja’ drama.
(6).Rain in Rabindra Sangeet.
(7).Variety of Swar, Taal and Chhand in Rabindra Sangeet.
(8). Evolution of orchestra composition in Bangla Desh, applicability of orchestra in Rabindra Nritya Natak.
(9).Discussion in connection with the stage decoration and costumes used in the dance drama promoted in Shanti-Niketan.
(10). What was the attitude of Guru Rabindranath regarding the music and dance of Java and Bali islands? Criticism of it.
Second Paper
(1). Contribution of Guru Uday Shankar in the field of Indian dance.
(2) Types of dance- Dhamail, Tusu, Bhadu, Bratachari.
(3).Knowledge of South Indian and North Indian taal system and comparison of South Indian taals with Rabindra composed taals.
(4). Comparative criticism of Abhinay Darpan and the disjointed hand mentioned in Natyashastra.
(5). Definition – Karan, Nritya, Hast, Rechak, Tandav, Lasya, Tal-Pushat.
(6). What is Anghar? How is it made? What is the place of Anghar in the art of dance? Criticism of it.
(7). Knowledge regarding the historical pracheentam musican of Indian dance.
(8). Criticism in relation to distinction and specialty in Lok nritya ,Uchchanag nirtya, aadhunik nitya saili.
(9). Contribution of Guru Rabindranath in the field of Indian dance.
(10) Biography – Guru Sankaran Nambudri, Anna Pavlova.
Practical
(1) Thorough knowledge of the following Taals and dance of at least one in each Taal with Rabindra Sangeet- Navpanch-Madhyaman, Aadchautaal and Rupak.
(2). Practice of recitation by showing tali khali from first to fifth, year.
(3) Dance of one dance each of Dhupdang, Khetalang, Boulang and Kirtinang with the collaboration of Rabindra Sangeet.
(4). Kathakali ‘Sari’ dance.
(5). Bharata Natyam – Allarippu dance.
(6). Behavior method of Mushtimudra according to Abhinay Darpan.
(7).Dances of two special festivals of North Indian and South Indian.
(8). Dance of self-request of Mrs. Charitra to the play ‘Natir-Puja’.
(9). Dance with music on two steps of Bhanu Singh’s Padavali.
Note- The syllabus of the previous years will be combined.
