Visva-Bharati, Sangit-Bhavana

Department of Rabindra Sangit, Dance & Drama

CURRICULUM FOR UNDERGRADUATE COURSE
CHOICE BASED CREDIT SYSTEM

COURSE CODE: DURATION: 3 COURSE CODE SIX SEMESTER

BMS YEARS NO: 41

Sl.No Course Semester Credit Marks Full Marks

.
1. Core Course - CC
14 Courses
I-IV 14X6=84 14X75 1050
08 Courses Practical
06 Courses Theoretical
2. Discipline Specific Elective -
DSE
04 Courses V-VI 4X6=24 4X75 300

03 Courses Practical
01 Courses Theoretical
3. Generic Elective Course –
GEC
04 Course I-IV 4X6=24 4X75 300

03 Courses Practical
01 Courses Theoretical
4. Skill Enhancement
Compulsory Course – SECC
III-IV 2X2=4 2X25 50
02 Courses Theoretical
5. Ability Enhancement
Compulsory Course – AECC
I-II 2X2=4 2X25 50
02 Courses Theoretical
6. Tagore Studies - TS
(Foundation Course)
I-II 4X2=8 2X50 100
02 Courses Theoretical

Total Courses 28 Semester IV Credits 148 Marks 1850

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 CHOICE BASED CREDIT SYSTEM
B.MUS (HONS)
COURSE AND MARKS DISTRIBUTION STRUCTURE

CC DSE GEC SECC AEC TS

SEM C TOTA
PRA THE PRA THE PRA THE THE THE THE L
C O C O C O O O O

I 75 75 - - 75 - - 25 50 300

II 75 75 - - 75 - - 25 50 300

III 150 75 - - 75 - 25 - - 325

IV 150 75 - - - 75 25 - - 325

V 75 75 150 - - - - - - 300

VI 75 75 75 75 - - - - - 300

TOTA 600 450 225 75 225 75 50 50 100 1850

L

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 CHOICE BASED CREDIT SYSTEM
B.MUS (HONS)
OUTLINE OF THE COURSE STRUCTURE

COURSE COURSE TYPE CREDITS MARKS HOURS PER

CODE WEEK
SEMESTER-I
CC-1 PRACTICAL 6 75 12
CC-2 THEORETICAL 6 75 6
GEC-1 PRACTICAL 6 75 12
AECC-1 THEORETICAL 2 25 2
TS-1 THEORETICAL 4 50 4
SEMESTER-II
CC-3 PRACTICAL 6 75 12
CC-4 THEORETICAL 6 75 6
GEC-2 PRACTICAL 6 75 12
AECC-2 THEORETICAL 2 25 2
TS-2 THEORETICAL 4 50 4
SEMESTER-III
CC-5 PRACTICAL 6 75 12
CC-6 PRACTICAL 6 75 12
CC-7 THEORETICAL 6 75 6
GEC-3 PRACTICAL 6 75 12
SECC-1 THEORETICAL 2 25 2
SEMESTER-IV
CC-8 PRACTICAL 6 75 12
CC-9 PRACTICAL 6 75 12
CC-10 THEORETICAL 6 75 6
GEC-4 THEORETICAL 6 75 12
SECC-2 THEORETICAL 2 25 2
SEMESTER-V
CC-11 PRACTICAL 6 75 12
CC-12 THEORETICAL 6 75 6
DSE-1 PRACTICAL 6 75 12
DSE-2 PRACTICAL 6 75 12
SEMESTER-VI
CC-13 PRACTICAL 6 75 12
CC-14 THEORETICAL 6 75 6
DSE-3 PRACTICAL 6 75 12
DSE-4 THEORETICAL 6 75 12

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 INDEX

Sl.No. SUBJECT Subject Page No.

Code
1. Rabindra Sangit 401 05-17

2. Manipuri Dance 402 18-33

3. Kathakali Dance 403 34-50

4. Rabindra Nritya 404 51-60

5. Drama & Theatre Arts 405 61-109

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 CURRICULAM FOR UNDERGRADUATE COURSES

UNDER

CHOICE BASED CREDIT SYSTEM

SUBJECT- RABINDRA SANGIT

B.MUS. SEM- 1 TOTAL CREDIT-24

CC-1 (Prac.) Credits- 6 Marks- 60+15=75

a. Selected 15 songs from different Paryay.

Course Objective- Pupils learn 15 songs from different Paryay.
Learning outcome- Pupils get idea how to sing different types of Rabindra Sangit.

CC-2 (Theory) Credits- 6 Marks- 60+15=75

a. The musical environment of Thakurbari.

b. Introduction to the music masters of Rabindranath.
c. Knowledge of the ragas and talas referred in the practical classes.
d. Details about Rabindrik talas.

Course Objective-students get theoretical idea about the musical environment of

Thakurbari, music masters of Rabindranath Tagore, also learn the ragas and talas
referred in the practical classes.

Learning outcome-in this paper students gain knowledge about the musical
environment of Thakurbari, music masters of Rabindranath Tagore, also they can sing
the ragas and show the theka of talas referred in the practical classes.

AECC-1 ENG/EVS CREDITS-2 MARKS-25

GEC-1 (Prac) CREDITS-6 MARKS-75

a. Learning of Ashrama Sangit.

b. Five songs of functions and festivals of Visva-Bharati.

Course Objective-In this paper students learn the Ashrama Sangit, and five songs
which is sung in Visva-Bharati in various functions and festivals.

Learning outcome-Students can able to sing the Ashrama Sangit, and get learned the
songs which is sung in Visva-Bharati in various functions and festivals.

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B.MUS. SEM II TOTAL CREDIT 24

CC-3(Prac.) Credit 6 Marks-60+15=75

a. Ten selected songs of functions and festivals of Visva-Bharati.

Course Objective- In this paper students learn ten songs which is sung in
Visva-Bharati in various functions and festivals.
Learning outcome- Students get learned the songs which is sung in Visva-
Bharati in various functions and festivals.

CC-4(Prac.) Credit 6 Marks-60+15=75

a. The influence of Bengali music on the early life of Rabindranath with

special reference to the phase as prevalent in that period.
b. Introduction to Brahmacharya Ashrama.
c. Details of the functions and festivals of Visva-Bharati.
Course Objective-Students get the knowledge about the history of the
influence of Bengali music on the early life of Rabindranath, introduction
of Brahmacharya Ashrama. Along with this they get know the description
of the functions and festivals of Visva-Bharati.
Learning outcome-Being the students of Rabindra Sangit, they come to
know the influence of Bengali music on the early life of Rabindranath,
introduction of Brahmacharya Ashrama. Along with this they get know the
description of the functions and festivals of Visva-Bharati.

AECC-2 ENG/EVS CREDITS-2 MARKS-25

GEC-2 (Prac) CREDITS-6 MARKS-60+15=75

a. Songs and talas to be learnt of 2 songs from each season.

Course Objective-Pupils learn 2 songs from each seasons.
Learning outcome-Pupils can able to sing two songs from each season.

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B.MUS. SEM III TOTAL CREDIT 28 TOTAL MARKS-450

CC-5 (Prac.) Credit-6 Marks 60+15=75

a. Selected ten Brahma Sangit (other than Rabindranath).

b. Six songs based on Rabindrik talas.
Course Objective-Pupil learn 10 Brahma Sangit excluding Rabindranath.
Six Rabindra Sangit set in various Rabindrik talas.
Learning outcome-Pupil get idea and able to sing various Brahma Sangit
excluding Rabindranath. They also know the applicability of Rabindrik talas in
Rabindra Sangit.

CC-6 (Prac.) Credit-6 Marks 60+15=75

a. Selected portion of Gitinatyas.

b. Selected portion of Nrityanatyas.

Course Objective- Students learn the selected portion of Gitinatyas and

Nrityanatyas.

Learning outcome-Students are able to sing a portion of Gitinatyas and

Nrityanatyas.

CC-7 (Theory) Credit-6 Marks 60+15=75

Rabindrasangit (Theory) Details of Brahmasamaj and Brahma Sangit.

a. History of Gitinatya and Nrityanatya of Rabindranath.
b. Influence of the folk, Western and 19th century Bengali songs on
Rabindranath’s musical composition.
c. Knowledge of the ragas and talas referred in the practical classes.
Course objective- Students are being taught about the history of Brahma
Samaj and Brahma Sangit, the history of Gitinatya and Nrityanatya created by
Rabindranath Tagore. Influence of the folk tune, Western tune along with 19th
century Bengali songs on Tagore’s musical composition.

Learning outcome-Students get knowledge about the history of Brahma

Samaj, Brahma Sangit, the history of Gitinatya and Nrityanatya created by
Rabindranath Tagore. They also know about the influence of folk tune,
Western tune along with 19th century Bengali songs on Tagore’s musical
composition.

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GEC-3(Prac.) Credits-6 Marks 60+15=75

a. Songs of different important talas of Rabindranath.

Course Objective-Students get knowledge of important talas created by
Rabindranath set with different songs.
Learning outcome-Students are able to perform various Rabindra Sangit set with
different types of important talas created by Rabindranath.

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 B.MUS. SEM IV TOTAL CREDIT 28 TOTAL MARKS-450

CC-8 (Prac.) Credits-6 Marks 60+15=75

a. Selected songs from Baulanga.

b. Selected songs from Kirtananga.
c. Selected songs from Tappanga.
d. Selected original Bengali Tappa.

Course objective- Pupils learn Selected songs of Baulanga, Kirtananga, Tappanga and
original Bengali Tappa.

Learning outcome-Students get practical knowledge about various tunes and types of
Rabindra Sangit, i.e. Baulanga, Kirtananga, Tappanga. Along with these they are able
to sing the original Bengali Tappa.

CC-9 (Prac.) Credits-6 Marks 60+15=75

a. Selected songs of Prayaschitta, Achalayatan, falguni, TasherDesh.

Course objective- Students learn various songs from Tagore-dramas, i.e. Prayaschitta,
Achalayatan, falguni, TasherDesh.

Learning outcome- Students are able to know the dramatic scenes from Prayaschitta,
Achalayatan, falguni, TasherDesh, along with various songs set in different situations
of drama.

CC-10 (theory) Credits-6 Marks 60+15=75

Part-A, GENERAL AESTHETICS

For Students offering Bengali Medium: - Reference Bengali Texts:-

I.PrabasjibanChoudhuri, Saundaryadarshan,
II.Sitansu Roy, Saundaryadarshan: PrathomikParichay

For Students offering English Medium: Reference English Texts:-

I. Aldrich: Philosophy of Art
II.Sitansu Roy: Studies in Music Aesthetics

Part-B, TAGORIEN AESTHETICS

For Students offering Bengali Medium: - Reference Bengali Texts: -

I.Rabindranath Tagore, SahiterPathe

a.Utsarga [Dedication]
b.Vastava [Real]
c.Tathya - O –Satya [Fact and Truth]

II. Rabindranath Tagore, Sahitya

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 a.Saundaryabodha [The sence of Beauty]
b.Saundarya – O – sahitya [Beauty and Leterature]

III. Rabindranath Tagore, Sangeet Chinta

a.Sangeet – O – Bhava [Music and feeling]
b.Sangeet – O – Kavita [Music and Poetry]
c.Sangeeter Mukti [ Emancipation of Music]

For Students offering English Medium: Reference English Texts:-

I.Rabindranath Tagore on Art and Aesthetics, Edited By P.Neogy (5 -
Selected pieces)

GEC-4 (theory) Credits-6 Marks 60+15=75

Part 1- General theory. Marks 40

Musical environment of Thakurbari.
Importance of functions and festivals of Santiniketan.
Evolution of Music, Drama and Dance in Santiniketan.
History of Sangit Bhavana.
Course objective- In this paper students get a theoretical idea about musical
environment of Thakurbari, importance of functions and festivals of Santiniketan,
evolution of Music, Drama and Dance in Santiniketan.history of Sangit Bhavana.
Learning outcome-Students get a theoretical idea about musical environment of
Thakurbari, importance of functions and festivals of Santiniketan, evolution of
Music, Drama and Dance in Santiniketan, history of their institute, that is Sangit
Bhavana.

Part 2- subject Marks-60

Introduction to the music masters of Rabindranath.
Influence of Western Music, Folk, Classical and other songs in Rabindra Sangit.
Characteristics of Rabindra Sangit.
Course objective- Pupils get the details about the music masters of Rabindranath
Tagore.
How Tagore created his songs which was influenced by Western Music, Folk,
Classical Music, and the characteristics of Rabindra Sangit.
Learning objective-Pupils learn the delails about the music masters of
Rabindranath Tagore, they can study the tonal compositions of Western Music,
Folk, Classical and other songs in Rabindra Sangit, and the characteristics of
Rabindra Sangit.

Page 10 of 109
B.MUS. SEM V TOTAL CREDIT 24 TOTAL MARKS-300

CC-11 (Prac.) Credits-6 Marks 60+15=75

a. Selected songs from Gitanjali.

b. Selected songs from Gitali.
c. Selected songs from Gitimalya.

Course objective-Pupils learn selected songs which are poetry also, i.e. Gitanjali,
Gitali, Gitimalya.

Learning outcome-student can able to sing those songs which are Tagore’s poetry
also.

CC-12 (Theory) Credits-6 Marks 60+15=75

a. Originality and characteristics of Rabindrasangit.

b. Details of the history of writing Gitanjali, Gitali, Gitimalya.
Course objective- Students get theoretical knowledge about various
characteristics of Rabindrasangit. They study the history of writing Gitanjali,
Gitali, Gitimalya.
Learning outcome- Students learn what is the tonal and lyrical characteristics
of Rabindrasangit which leads to Tagore’s musical philosophy.

DSEC-1 (Prac.) Credits-6 Marks 60+15=75

A. Esraj
a. Basic bow technique of Esraj.
b. Alankar based on talas.
c. Basic techniques- Meend, Krintan, Kan, Gamak, Ghasit etc.
d. Two swaramalikas from rags like- Yaman, Bhairav, Khamaj, Bhupali.
Course objective- In this paper students learn the basic style of playing
esraj, how to hold bow, playing Alankars set in various talas. Few basic
techniques like Meend, Krintan, Kan, Gamak, Ghasit etc. Learn to play
two swaramaliks from ragas like Yaman, Bhairav, Khamaj, Bhupali.
Learning outcome- Student get idea how to hold the bow and play esraj,
using alankar set in various talas, they will play swaramalika of specific
ragas also.

B. Kirtan
a. The songs of praying (Prarthana)
b. Gaurchandrika
c. The songs of Naukabilas/Danparva

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Course objective- In this practical course pupils learn Kirtanas which contain
the parts like Prarthana, Gaurchandrika, Naukabilas/Danparva.
Learning outcome-learning this paper, students can able to sings different
parts of a kirtanas set in various kirtananga talas using khol.

C. Songs of Rabindranatya
a. Songs and acting of
Balmiki Pratibha
Kalmrigaya
MayarKhela

Course objective- Pupils learn songs along with acting of the following Song
Dramas- Balmiki Pratibha, Kalmrigaya, MayarKhela

Learning outcome-Pupils are able to perform music drama completely, as they

learn the songs and acting also.

D. Bengali songs contemporary to Rabindranath.

a. Songs of Atulprasad.

Course objective- Students learn songs of Atulprasad.

Learning outcome- Students are able to perform other Bengali songs, which
leads another styles of singing.

DSEC-2 (Prac.) Credits-6 Marks 60+15=75

A. Esraj
a. Murchhana and Jhala of different types.
b. Rezakhani Gat with Toda and Jhala of at least three ragas- Yaman,
Bhairav, Kafi, Khamaj, Jaunpuri.
Course objective- In this paper students learn to play different types of
Murchhana and Jhala, RezakhaniGatwith Toda and Jhala of at least
three ragas - Yaman, Bhairav, Kafi, Khamaj, Jaunpuri.
Learning outcome- Students get idea how to play different types of
Murchhanas and Jhalas, they can able to play the Rezakhani Gat.

B. Kirtan
a. The songs of Purvaraga.
b. The songs of Maan.
c. The songs of Raas/Dwipraharik Milan.

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 Course objective- In this practical course pupils learn Kirtanas which
contain the parts like Purvaraga, Maan, Dwipraharik Milan.
Learning outcome-learning this paper, students can able to sings
different parts of a kirtanas set in various kirtananga talas using khol.

C. Songs of Rabindranatya
a. Selected songs from dramas of Rabindranath.
b. Selected songs from Ritunatya
Basanta
Shrabangatha
Seshbarshan
Barshamangal
Course objective- Pupils learn songsof Dramas and seasonal dramas-
Basanta, Shrabangatha, Seshbarshan, Barshamangal
Learning outcome-Pupils are able perform songs from various dramas
along with acting completely, as they learn the acting previously.
D. Bengali songs contemporary to Rabindranath
a. Songs of Rajanikanta
b. Najrulgiti
Course objective- Students learn songs of Rajanikanta and Najrul.
Learning outcome- Students are able to perform other Bengali songs,
i.e. Rajanikanta and Najrul, which leads another styles of singing.

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B.MUS. SEM VI TOTAL CREDIT 24 TOTAL MARKS-300

CC-13 (Prac.) Credits-6 Marks 60+15=75

a. Selected original Hindustani Compositions taken as models by Rabindranath.

Course objective-Students will learn selected Hindustani compositions which was

taken as models by Rabindranath.

Learning outcome-Students can perform original Hindustani compositions with

proper Alap, Vistar and Tanas.

CC-14 (Theory) Credits-6 Marks 60+15=75

a. Notation system of Rabindrasangit (origin and development of the notation system

in Bengali)
b. Rabindranth’s writings on Music-
SahityerPathey
Sangitchinta
Letters (Chithipatra)
Course objective-Pupils know the history of origin and development of notation
system in Bengal.
Learning outcome-Pupils need to follow the notation system. It is also important
to know the history of the notation system in Bengal.

DSEC-3 (Prac.) Credits-6 Marks 60+15=75

A. Esraj
a. Ability to recite the thekas in Barabar, Dwigun, Chaugunlaya from
the following talas- Trital, Jhaptal, Ektal, Dadra, Kaharba.
b. One Masitkhani and two Rezakhani gat with complete Baj of the
following ragas- Vrindavani Sarang, Jaunpuri, Bihag, Bageshree
Course objective- In this paper students learn to play thekas in Barabar,
Dwigun, Chaugunlaya from the following talas- Trital, Jhaptal, Ektal,
Dadra, Kaharba.
Learning outcome- Students get idea how to play different types of thekas set
in various laya.
B. Kirtana
a. The songs of Parva (Hari and Jhulan)
b. Mathur Biraha
c. Anurag (Rup, Akshep etc.)

Course objective- In this practical course pupils learn Kirtanas which

contain the parts like Parva, Mathur Biraha, Anurag.

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 Learning outcome-learning this paper, students can able to sings
different parts of a kirtanas set in various kirtananga talas using khol.

C. Songs of Rabindranatya
a. Songs and recitations from Nrityanatya-
Shapmochan
Chitrangada
Course objective- In this course pupils learn the songs and recitations from
Shapmochan and Chitrangada.
Learning outcome- Pupils can perform songs of the dramas following any
character.

D. Bengali songs contemporary to Rabindranath

Songs of Dwijendralal Roy and Dilip Kumar Roy.
Course objective- Students learn songs of Dwijendralal Roy and Dilip
Kumar Roy.
Learning outcome- Students are able to perform other Bengali songs,
i.e. Dwijendralal Roy and Dilip Kumar Roy, which leads another styles
of singing.

DSEC-4 (Theory) Credits-6 Marks 60+15=75

A. Esraj
a. Different parts of Esraj with diagram
b. Definition of the following musical terms- Sangit, Nada, Shruti, Swara,
Saptak, Thata, Raga, Aroha, Aboroha, Vadi, Samvadi, Anuvadi, Tala,
Matra, Laya, Sam, Pakad.
c. Detail theoretical knowledge of the following ragas- Yaman, Bhairav,
Kafi, Khamaj, Bhupali, Behag, Bhairavi.
d. Rabindrasangit and Esraj.
Course objective- In this paper students get knowledge about Esraj with
diagram. Then they learn detailed theoretical knowledge of musical terms
such as Sangit, Nada, Shruti, Swara, Saptak, Thata, Raga, Aroha, Aboroha,
Vadi, Samvadi, Anuvadi, Tala, Matra, Laya, Sam, Pakad. Detail
knowledge of following ragas- Yaman, Bhairav, Kafi, Khamaj, Bhupali,
Behag, Bhairavi. They get the idea that how an Esraj can collaborate with
Rabindrasangit.
Learning outcome- completing this course pupils get deep knowledge
about Esraj with diagram. Then they learn detailed theoretical knowledge
of musical terms such as Sangit, Nada, Shruti, Swara, Saptak, Thata, Raga,
Aroha, Aboroha, Vadi, Samvadi, Anuvadi, Tala, Matra, Laya, Sam, Pakad
which they can apply it on Esraj. When they get knowledge of following
ragas- Yaman, Bhairav, Kafi, Khamaj, Bhupali, Behag, Bhairavi, they can

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play these on Esraj. Furthermore, they can play the tunes of
Rabindrasangit.
B. Kirtana
a. History of Kirtana in Bengal.
b. Types of Kirtana.
c. Influence of Kirtana on Rabindrasangit.
d. Life sketches of famous padakarta and kirtaniyas.
e. Introduction to the songs learnt in the syllabus.
Course objective- In this theoretical course pupils get learnt detailes
history of Kirtan in Bengal, various types of Kirtanas, how
Rabindranath influenced by the tune of Kirtana, life sketches of
famous padakarta and kirtaniyas, introduction to the songs which learnt
in the syllabus.
Learning outcome- completing this course, students know the history
and different types of Kirtan, which is age old music in Bengal. They
can expand their knowledge how this Kirtana invaded in
Rabindrasangit. Besides these, pupils will know the life sketches of
famous padakarta and kirtaniyas, and introduction to the songs which
learnt in the syllabus.
C. Songs of Rabindranatya
a. Evolution of Rabindranath’s writings from Gitinatya to
Nrityanatya.
b. Characteristics of the Drama and Dance Drama songs.
c. Details of the stories and characters of Tagore Drama.
Course objective- In this course, pupils know about the evolution
of Nrityanatya, how those were created from Gitinatya, various
background and characteristic of the songs contains in Drama and
Dance Drama, they need to also know the storyline and characters
of Tagore Dramas.
Learning outcome- Pupils extend the knowledge about another part
of Tagore’s creativity, i.e. Gitinatya, Nrityanatya, and various
Dramas, study of the characters, storylines, evolution from
Gitinatya to Nrityanatya, characteristics of songs which contain in
Tagore’s Drama.
D. Bengali songs contemporary to Rabindranath
a. History and evolution of Bengali songs contemporary to
Rabindranath.
b. Life sketch of famous personalities.
Course objective-in this course history and evolution of Bengali
songs will be taught which is contemporary to Rabindranath,
along with life sketches of famous musical personalities of that
period.
Learning outcome-Students get learnt about the history and
evolution of another types of Bengali songs which was

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 contemporary to Rabindranath and life sketches of famous
personalities of that period.

Reference Books :
i)Sangit Chinta by Rabindranath Tagore
ii) Shyamali by Rabindranath Tagore
iii) Punoscho by Rabindranath Tagore
iv) Katha O Kahini by Rabindranath Tagore
v) SeshSoptok by Rabindranath Tagore
vi) Bangalir Rag Sangit Charcha by Dilip Mukhopadhyay
vii) SobdoBijnan by Dr. Samir Kr. Ghosh
viii) Soundarya Darshan (PrathomikPorichoi) by Sitangshu Roy
ix) Sangit Chintay Rabindranath by Sitangshu Roy
x) BanglarKabya Sangit O Rabindra Sangit by Arun Kumar Basu

Page 17 of 109
 PROPOSED SCHEME FOR CBCS IN THE DEPARTMENT OF RSDD
Manipuri Dance

Semester –1
1. Core Course-CC1 (Practical) Credit-6 Marks 60 + 15= 75
(Course Objective: This course aims to provide the students with the introduction to Manipuri
dancing.
The Learning Outcome: - Physical exercises would prepare the body for this classical dance
form and the rest will impart the basic training on rhythm and also dance with cymbal)
a) Physical Exercises and exercises with rhythm
b) ChaliPareng from number 1 to 15
c) MandilaCholom
d) Talas and Bols to be learnt by heart

2. Core Course- CC2 (Theory) Credit-6 Marks 60 + 15= 75

(Course Objective: The course aims to provide the students knowledge of different dances of
India and introduction to Manipuri dance.
The Learning Outcome- This is a theoretical course where the idea of different classical and
folk dances of India is imparted. Also an introduction to the different kinds of Manipuri
dance is attempted)
a. Introduction to the dances of India:
• Folk dances of different states
• Classical dances of India
Introduction to dances of Manipur
• Lai-Haraoba
• Raslila
• Sankirtana
• Festival dances
b. Dance Practice in Santiniketan
3. Ability Enhancement Compulsory Course-AECC-1Credit-2 Marks 40 + 10= 50
English/MIL

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4. Generic Elective GEC- 1 (Practical) Credit-6 Marks 60 + 15= 75
(Course Objective: This course is an elective one and hence is aimed at training the students
in very basics of Manipuri steps and dancing the basic rhythm.
The Learning Outcome: - After getting basic foundation knowledge by students, an enjoyable
folk dance of Manipur is also included to make the class enjoyable.)
a. Basic Steps of Manipuri Dance
b. ChaliPareng 1-10
c. Punglon (Bols) to be learnt
d. MandilaCholom
e. ThabalChongba

5. Tagore Studies Credit-4

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Semester 2
1. Core Course- CC3 (Practical) Credit- 6 Marks 60 + 15= 75
(Course Objective: The second stage of the basic foundation with a bit advanced practical
learning along with the rhythmic patterns of Manipuri Talas is provided in this course.
The Learning Outcome. One Radha’s dance on a song and learning by heart the song and
rhythm would give the students idea of Manipuri song and rhythm)
a. ChaliPareng from 16 to 27 along with Tanchap, MenkupPunglonJagoi
b. RadhaAbhisar from any one Manipuri Raslila
c. Tal, Punglon and Songs to be learnt by heart

1. Core Course- CC4 (Theory) Credit- 6 Marks 60 + 15= 75

(Course Objective: This theory course makes the students aware of the dances in ancient
literature and Epics in India.
The Learning Outcome- This will be valuable for overall understanding of dance history in
India and Manipur.)
a. The ancient period of Dance in India
• Dance in Vedas
• Dance in the Epics- Ramayana and Mahabharata
• Dance in HarivamsaPurana
b. History of Lai-Haraoba
• The Umang-Lais
• Maibis
• Pakhangba
• Jagoi-s
• KhambaThoibi
• Pena Eshei and Pena Pala
c. History of Raslila in Manipur from Maharas to Diva Ras. Contributions of
RajarshiBhagyachandra, Maharaja Gambhir Singh, Maharaja Chandrakirti, Maharaja
Churachand.History of Udukhal Lila and Gostha Lila Sansenba.
d. Manipuri Dance in Santiniketan
3. Ability Enhancement Compulsory Course-AECC-1Credit-2 Marks 40 + 10= 50
EVS

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4. Generic Elective GE- 2 (Practical) Credit-6 Marks 60 + 15= 75
(Course Objective: To provide some rhythmic compositions as practical lessons along with
simple dances on songs.
The Learning Outcome- By learning these, the students get an idea of the two styles- the
masculine and the feminine- of Manipuri)
a. Tan chapPunglonJagoi- 4 bols
b. MenkupPunglonJagoi- 4 Bols
c. NacheBalaNandadulal- dance composition of child Krishna from Gostha Lila
d. One Lashya composition

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Semester 3
1. Core Course- CC5 (Practical) Credit-6 Marks 60 + 15= 75
(Course Objective:This course aims to provide the students with the introduction to Series of
feminine dance movements the one of the core dances of Rasalila of Manipuri dancing.
The Learning Outcome- This will impart the knowledge of basic movements of Raslila
dancing.)
a. BhangiParengAchouba
b. One Dance composition on any Manipuri Raas song.
c. Tal, Songs, Punglons to be learnt by heart

1. Core Course- CC6 (Practical) Credit-6 Marks 60 + 15= 75

(Course Objective: This course aims to provide the students the knowledgeofthepractical
course of the Pre-Vaishnavite movement patterns of Manipur.
The Learning Outcome-. The students are expected to memorize and develop this style with
practice.)
a. A dance composition on Tanchapbol from any Manipuri Raas
b. Lai Haraoba- LeimaJagoi
c. Tal, Songs, Punglon to be learnt by heart

1. Core Course- CC-7 (Theory) Credit-6 Marks 60 + 15= 75

(Course Objective: To provide the knowledge of the ancient texts of Dance and text of
dramaturgy.
The Learning Outcome- This theory course gives introduction to the ancient texts of Dance
and expects the students to gain knowledge on Authors, types of movements, costumes, stage
etc. as elaborated in the ancient text of dramaturgy)
a. Introduction to the Natyashastra (Part I)
• Date and authorship of the Natyashastra
• Origin of Natya, Pancham Veda
b. Introduction to the Natyashastra (Part II)
• Purvaranga
• Rangamancha
• Tandavalakshana

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c. Introduction to the Natyashastra (Part III)
• The four Abhinayas in the Natyashastra
a. History of Classical Dances (Part I)
The South Indian Dance forms- Bharatnatyam, Kathakali, Mohiniattam and Kuchipudi
d. Concept of Nataraja
1. Skill Enhancement Courses (SEC)- 1 Credit-2 Marks 15 + 10= 25

2. Generic Elective GE- 3 (Practical) Credit-6 Marks 60 + 15= 75

(Course Objective: To provide the basic practical knowledge of Pre- Vaisnavide and post -
Viasnavide dances.
The Learning Outcome- The students are expected to learn and gain knowledge on the two
kinds of movement repertoire of Manipur- the Pre-Vaishnavite and the Post-Vaishnavite)
a. A composition from Laiharaoba
b. A composition on any song of Rasalila
c. KartalCholom
d. All songs and bols to be learnt
SECC-1 CREDITS-2. MARKS 20+5=25
OPTIONAL
Yoga.
SECC– 1 (Theory) CREDITS-2 MARKS
20+05=25
a. History of Yoga.
b. Yoga darsan
c. Mordern development of Yoga.
d. Yoga and Music.
Tabla

Sem - III
SECC– 1 (Practical) CREDITS-2 MARKS
20+05=25

a. Ability to play principal varnas of Tabla with proper fingering.

b. Knowledge of playing Dadra, Kaharwa and Teental (Theka only).
c. Ability to recite the above mentioned talas with claping in hands.
d. Knowledge of simple compositions like Kayeda (2) and Theka (2).

Kathakali Costume and Make-up

Sem - III

Page 23 of 109
SECC– 1 (Theoretical) CREDITS-2 MARKS
20+05=25

a. Pacha-character Costume and Make-up design.

b. Kathi-character Costume and Make-up design.
c. Pacha-character Costume and Make-up detail study.
d. Kathi-characterCostume and Make-up detail study.

Page 24 of 109
Semester 4
1. Core Course- CC-8 (Practical) Credit-6 Marks 60 + 15= 75
(Course Objective: The aims of this course are to provide the students idea of the series of
masculine movements.
The Learning Outcome- The students are expected to experience the masculine form of
movements in Gostha Lila and Raslila)
a. GosthaBhangiPareng
b. KartalCholom
c. Tal, Songs, Punglon to be learnt by heart
2. Core Course- CC--9 (Practical) Credit-6 Marks 60 + 15= 75
(Course Objective: To provide more feminine dance compositions to the students.
The Learning Outcome- The students are expected to experience the feminine dances
composition form of movements in Raslila)
a. RadhaNartan from any one of the Manipuri Raslila
b. Tal, Songs, Punglon to be learnt by heart

3. Core Course- CC10 (Theory) Credit- 6 Marks 60 + 15= 75

Part-A, GENERAL AESTHETICS

For Students offering Bengali Medium: - Reference Bengali Texts:-

I.PrabasjibanChoudhuri, Saundaryadarshan,
II.Sitansu Roy, Saundaryadarshan: PrathomikParichay

For Students offering English Medium: Reference English Texts:-

I. Aldrich: Philosophy of Art
II.Sitansu Roy: Studies in Music Aesthetics

Part-B, TAGORIEN AESTHETICS

For Students offering Bengali Medium: - Reference Bengali Texts: -

I.Rabindranath Tagore, SahiterPathe

a.Utsarga [Dedication]
b.Vastava [Real]
c.Tathya - O –Satya [Fact and Truth]

II. Rabindranath Tagore, Sahitya

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 a.Saundaryabodha [The sence of Beauty]
b.Saundarya – O – sahitya [Beauty and Leterature]

III. Rabindranath Tagore, Sangeet Chinta

a.Sangeet – O – Bhava [Music and feeling]
b.Sangeet – O – Kavita [Music and Poetry]
c.Sangeeter Mukti [ Emancipation of Music]

For Students offering English Medium: Reference English Texts:-

I.Rabindranath Tagore on Art and Aesthetics, Edited By P.Neogy (5 -
Selected pieces)
Skill Enhancement Courses (SEC)- 1 Credit-2 Marks 15 + 10= 25

2. Generic Elective GE- 4 (Theory) Credit-6 Marks 60 + 15= 75

(Course Objective: This theory course expects to give an overall idea of the history of
Manipuri dances and detail the evolution.
The Learning Outcome- The students are expected to gain knowledge of Manipur as a whole
and Manipuri dances in particular.)
• History of Dances in the Pre-Vaishnavite Period- Lai-Haraoba and its variations.
Dances of Lai-Haraoba.
• History of Dances in Post Vaishnavite period- Introduction to Sankirtana, Raslilas and
Festival Dances of Manipur.
SECC-2 CREDITS-2. MARKS 20+5=25
OPTIONAL
Yoga.

Sem – IV
SECC– 2 (Theory) CREDITS-2 MARKS
20+05=25
a. Ayurveda and Yoga.
b. Yogic diet.
c. Yoga therapy.
d. Yoga and Dance.
Tabla
Sem - IV
SECC– 2 (Practical) CREDITS-2 MARKS
20+05=25

a. Ability to play Teental (VilambitTheka), Rupak and only Theka of all

talas (6) introduced by Rabindranath Tagore.
b. Two Kayda in Teental.
Two Theka in Teental.
One Laggi in Dadra &Kaharwa respectively.

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 c. Knowledge of accompaniment with songs in following talas: - Teental,
Dadra, Kaharwa.

d. Playing Dwigun&Chogun in following Talas: - Teental, Ektal.

Kathakali Costume and Make-up

Sem - IV
SECC– 2 (Theoretical) CREDITS-2 MARKS
20+05=25

a. Tadi-character Costume and Make-up design

b. Minukku-character Costume and Make-up design
c. Tadi-character Costume and Make-up detail study.
d. Minukku-character Costume and Make-up detail study.

Page 27 of 109
Semester 5 (Total Credits 24 Marks 400)
1. Core Course- CC-11 (Practical) Credit-6 Marks 60 + 15= 75
(Course Objective: To provide of the dance series of feminine movements of Raslila are the
major premise in this course.
The Learning Outcome- Students are groomed to perform the advanced stances and graceful
movements)
a. GopiBrindavanBhangiPareng
b. Tal, Songs, Punglon to be learnt by heart
2. Core Course- CC-12 (Theory) Credit- 6 Marks 60 + 15= 75
(Course Objective: This courses aims to provide the idea of the medieval period of Indian
dances and how the classical dances of India evolved.
The Learning Outcome- Students are expected to gain knowledge on the other classical
dances in the context of the Manipuri dance)
a. History of Classical Dances (Part II)
• Kathak
• Odissi
• Satriya
b. Contribution of the Devadasis in Indian Dance
c. Details of the dances of Rasalila
• The series of Raslilas
• Importance and history of BhangiPareng and ChaliPareng
• Importance of Abhisara, Nartans in Raslila

3. Discipline Specific Elective (DSE)- 1 (Practical) Credit-6 Marks 60 + 15= 75

(Course Objective:To give special knowledge of Manipuri Music from exposure to one of
these.
The learning Outcome- These are elective options among which only one should be taken and
the students are expected to gain special knowledge from exposure to one of these.)
a. Music of Manipuri Dance
• Lai HaraobaIshei
• Pena
b. Costumes and Makeup of Manipuri Dance

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• Make-up of Lai Haraoba
• Costumes of Lai Haraoba
c. Rabindranritya- to be composed on Manipuri Dance
• BhanusingherPadavali
• Dance of Nati
• Dances on Festival Songs
4. Discipline Specific Elective (DSE)- 2 (Practical) Credit- 6 Marks 60 + 15= 75
(Course Objective:To give special knowledge of Manipuri Music from exposure to one of
these.
The learning Outcome- These are elective options among which only one should be taken and
the students are expected to gain special knowledge from exposure to one of these.)
a. Music of Manipuri Dance
• RaslilaEshei
b. Costumes and Makeup of Manipuri Dance
• Make-up of Raslila- the face make-up, Tilak
• Costumes of Raslila
c. Rabindranritya- to be composed on Manipuri Dance
• Portion of a Dance Drama- Chitrangada Part I. Enactment of characters of the play
like Arjun, Chitrangada, Sakhis, Madan

Page 29 of 109
Semester 6
1. Core Course- CC-13 (Practical) Credit- 6 Marks 60 + 15= 75
(Course Objective: Providing of two masculine dance compositions to the students is the
main aims of the Course.
The Learning Outcome- After learning of two dance compositions of Krishna from two
Raslilas in this course. Students are groomed to perform the advanced stances of the varieties
masculine movements)
a. Krishna Abhisar from Basantaraas
b. Krishna Tandava from Nityaraas
c. Tal, Songs andPunglons to be learnt by heart
2. Core Course- CC-14 (Theory) Credit-6 Marks 60 + 15= 75
(Course Objective: Providing of the idea the theory of the texts of medieval period of Indian
dances and modern period artists to the students is the main aims of the Course.
The Learning Outcome- Students are expected to gain knowledge on the other classical
dances in the context of the Manipuri dance)
a. Introduction to Abhinaya Darpanam and Sangit Ratnakara
b. Modern Period of Indian Dance
• Contributions of Rukmini Devi, Madam Menoka,
• Contributions of three Legend Gurus of Manipuri dance (Guru MeisnamAmubi
Singh, Guru HaobamAtomba Singh, Guru TakhenchangbamAmudon Sharma and other
Classical Dancers on Stage
• Contributions of Udayshankar and Rabindranath

c. Terms like Rasdhari, Sutradhari, KartalCholom, PungCholom, KhubakEshei,

MandilaCholom, Holipala, Natamandap, Rasmandap, Rasesworipala, Gourlila
d. Costumes and Instruments of Manipur

1. Discipline Specific Elective (DSE)- 3 (Practical) Credit-6 Marks 60 + 15= 75

(Course Objective:To give special knowledge of Manipuri Music from exposure to one of
these.
The learning Outcome- These are elective options among which only one should be taken and
the students are expected to gain special knowledge from exposure to one of these.)
a. Music of Manipuri Dance

Page 30 of 109
• NataSankirtanaEshei

b. Costumes and Makeup of Manipuri Dance

e. Make-up of NataSankirtana- the face make-up, Tilak
f. Costumes of NataSankirtana

c. Rabindranritya- to be composed on Manipuri Dance

g. Portion of a Dance Drama- Chitrangada Part II. Enactment of characters of the play
like Arjun, Chitrangada, Sakhis, Madan, Grambasi

Discipline Specific Elective (DSE)- 4 (Theory) Credit-6 Marks 60 + 15= 75

(Course Objective:To give special theoretical knowledge of Manipuri Music from exposure
to one of these.
The learning Outcome- These are elective options among which only one should be taken and
the students are expected to gain special knowledge from exposure to one of these.)
a. Music of Manipuri Dance
• History and Development of Eshei in Manipur
• The Gurus of NataSankirtana, Rasalila, Laiharaoba
• Writing of Notation for Punglon and Eshei
b. Costumes and Makeup of Manipuri Dance
h. History and Development of Make-up of Manipuri dances from Lai Haraoba to Post
Vaishnava dances- the face make-up, Tilak
i. History and Development of Costumes of Lai-Haraoba, Rasalila and NataSankirtana
c. Rabindranritya
j. History and development of Rabindranritya
k. Importance and role of Manipuri Dance in the history of Rabindranritya
l. The Contribution of Manipuri Gurus in Rabindranritya
m. Rabindranath’s aesthetics and Dance

Page 31 of 109
 Reference Books:
Sl.No. Name of the Book – Author --- Language
1. RaasPurnima – Th. Babu Singh Manipuri
2. Aspects of Indian Culture – Prof. E.Nilakanta Singh English
3. Fragments of Manipuri Culture – Prof. E. Nilakanta Singh English
4. NatyaSastra – Manmohan Singh – English
5. The Mirror of Gesture A.K. Coomarswami – English
6. AbhinyaDarpan – Manmohan Singh – English
7. AbhinyaDarpan – D.N. SwaminathanIyer – English
8. The Dance of India – Fanbian Dowers English
9. Dance of India – Projesh Banerjee – English
10. The Art of Hindu Dance – ManjulikaBhaduri – English
11. Indian Dance – SreenivasIyengar – English
12. Dance of India – G. VenkataChalam – English
13. Folk Dance of India –
14. PrachinVharoterNatyakala – ManmohanGhosh – Bengali
15. BharaterNritya Kala – GayatriChattopadhyay – Bengali
16. Nrittya – Pratima Devi – Bengali
17. PryagiNritya O Natya – ShantidebGhosh – Bengali
18. RabindraSangeet (GeetiNatya O NrityaNatya, SantiniketanerNrityadhara)
Nrityanatyerobhinayay – ShantidebGhosh – Bengali
19. The Dance of India – EnakshiBhavani – English
20. NrityaShiksha – Prahlad Das – Bengali
21. Manipuri Dance – Bipin Singh &NayanaJaveri – English
22. Manipuri Dances – Kulabidhu Singh – English
23. Meitei Chali – M.Amubi Singh – Manipuri
24. Introduction of Manipuri Dance – Atombapu Sharma – English
25. Manipuri Sanaton Dharma – Atombapu Sharma – English
26. Religion of Culture of Manipur – Dr. Kriti Singh – English
27. AbhinayDarpan – Ashok Shastri – Bengali

Page 32 of 109
28. RabindranatherGitinatya O NrityaNatya – PronoyKundu – Bengali
29. Manipuri Nritya – T.Nadia Singh – Bengali
30. Sastriya Manipuri Nartan – DarshanaJhaveri,&Kalavati Devi – Bengali
31. JibanerDhrubatara – ShantidebGhosh – Bengali
32. NrittaDarpan – GayatriChottopadhyay – Bengali
33. NrittaPran – GayatriChottopadhyay – Bengali
34. NrityaNrittaNatto – Snigdha Pal – Bengali
35. ShilpoTatto – Sudhir Nandi – Bengali
36. PunglonBhangeeParengManggagi --Y. Hemantakumar -- Bengali
37. Manipuri AdibasiNritto o Thang-Ta, Dr. SumitBasu -- Bengali
38. Manipuri Lai-HarobaNritto, Dr. SumitBasu -- Bengali
39. Manipuri Mandap Sanskriti, Prof. K.Sunita Devi -- Bengali

<<<<<<<<<o>>>>>>>>>

Page 33 of 109
Preamble
Kathakali Dance: Goals, Course objectives and Learning out comes:

GOALS:
1) To engage students in the combined process of Classical dance and theatre practice
and performances throughout the course.
2) To strengthen students’ creative skills in live performance through the study of skills
and technique with traditional methodologies.
3) To engage critical studies, histories and histrionics of dance with rigorous and
intensive traditional training along with frequent performances.
4) To create unique, challenging and diverse live performance and share them with our
community.
5) Strengthening the capability to explain Kathakali dance logically with thorough
theoretical training with the base of Sanskrit texts on acting like Natyasastra,
Abhinayadarpana and so on.

COURSE OBJECTIVES:

To achieve these goals, students will:

Study and practice methodologies for translate the written text into live performance with
perfection. Read, analyze and write about Indian classical dance especially Kathakali and
critical theoretical evaluation of practical sessions. Study the fundamentals of classical
Kathakali acting, make-up, design, and theater technologies and audience responses. Learn
the terminology and practice methods of traditional Kathakali and analysis evaluation of live
performance. Participate in the rehearsal and performance process, and learn the relationships
and responsibilities of all collaborators; develop professional habits. Identify areas of specific
interest and explore into advanced study of those fields. Demonstrate a nuance understanding
of collaboration in the creative process through leadership, participation and reflection.
Develop a multi-layered physicality through training in dance techniques. Apply a variety of
value systems, aesthetics, and approaches to performing. Learn the language and practice
methods of Kathakali with theoretical evaluation. Integrate an understanding of cultural
context into creative and scholarly research. Conduct Lecture-cum-demonstrations with
theoretical frame work in a clear and convincing academic level and develop aptitude in
writing in the field of Kathakali dance. Encourage wide-ranging community build up through
dance and spread awareness in the society.

LEARNING OUTCOMES:

Through courses and involvement in production, students will learn the values and methods
of artistic collaboration. They will be prepared to enter the professional world of the
performing arts, or to pursue graduate study in Kathakali dance, or other fields in the
humankinds. They will be equipped for a wide variety of careers—such as professional
performers, writers, or teaching—that require collaborative effort, with self-confidence and
respect, imagination, and a broad backgrounding Indian classical dance and related skills.

Page 34 of 109
 CURRICULUM FOR UNDERGRADUATE COURSE
UNDER
CHOICE BASED CREDIT SYSTEM

DEPARTMENT OF RABINDRA SANGIT, DANCE & DRAMA

SUBJECT- KATHAKALI DANCE

B.Mus. SEM-I (TOTAL CREDIT-24) TOTAL MARKS – 300

1. CC-1 (PRACTICAL) CREDITS-6. MARKS 60+15=75

Course Objectives:
a. Meyyurappadavu structuralizes the basic body movements.
b. Trough chuzhippukal and kalusadhakam, the maintenance of stamina
and flexibility.
c. Basic knowledge of Kathakali tala system.
d. Basic gesture language system of Kathakali
Learning Out-comes:
a. Through Meyyurappadavu the preparation and the control over of body
will be attained with regular practice.
b. Stamina and Flexibility maintenance of Angika will be obtained
through Kalusadhakam and chuzhippukal.
c. Understanding the rhythmic system of dance pedagogy through
Kathakali tala-krama.
d. The non-verbal gesticulation will help the students for theatrical
onstage communication through basic mudra knowledge and further
studies.

a. Meyyurappadavu.
b. Kalusadhakam.
c. Chuzhippukal.
d. Study of all Kathakali Talas.
e. Basic Mudras.

2. CC-2 (THEORY) CREDITS-6. MARKS 60+15=75

Course Objectives:
a. Kathakali origin and the development process.
b. The influence of the Keralian classical performing artforms in
Kathakali.
c. The influence of the Keralian folk performing artforms in Kathakali.
d. The impression of the Keralian the martial form; Kalarippayattu to
Kathakali
Learning Out-comes:
a. Understanding the origin and development history of a Kathakali,
which will bring a serious approach to the subject.

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 b. Through the influence of the Keralian classical forms, Kathakali
communication methods will be analyzed. The shaping influence will
help the students for the practice and the future self-stylization in the
form.
c. Through the influence of the Keralian folk forms, Kathakali
communication methods will be analyzed. The shaping influence will
help the students for the practice and the future self-stylization in the
form.
d. The impression of Kalarippayattu in Kathakali will encourage the
students for the maintenance of the physical fitness through the
Meyurappadavu.

a. Origin and development of Kathakali.

b. Earlier Classical influences of Kathakali.
i.Kutiyattam.
ii.Krishnanattam.
c. Folk influences of Kathakali.
d. Martial impression in Kathakali

3. AECC-1 ENGLISH/EVS CREDITS-2. MARKS 20+5=25

4. TS-1 CREDITS-4 MARKS 40+10=50

5. GEC-1 (PRACTICAL) CREDITS-6. MARKS 60+15=75

Course Objectives:
a. Trough chuzhippukal and kalusadhakam, the maintenance of stamina
and flexibility.
b. Basic knowledge of Kathakali tala system.
c. Basic gesture language system of Kathakali
Learning Out-comes:
a. Stamina and Flexibility maintenance of Angika will be obtained
through Kalusadhakam and chuzhippukal.
b. Understanding the rhythmic system of dance pedagogy through
Kathakali tala-krama.
c. The non-verbal gesticulation will help the students for theatrical
onstage communication through basic mudra knowledge and further
studies.

a. Kalusadhakam.
b. Chuzhippukal.
c. Study of all Kathakali Thalas.
b. Basic Mudra.

Page 36 of 109
B.Mus. SEM-II (TOTAL CREDIT-24) TOTAL MARKS – 300

1. CC-3 (PRACTICAL) CREDITS-6. MARKS 60+15=75

Course Objectives:
a. Todayam an essential preliminary item of Kathakali.
b. Vattamvechukalasam, dance piece in between the Padam.
c. Sari is a female character dance pattern.
d. Ashtakalasham is a dance pattern used for enjoyment of character.
e. Navarasangal are Facial expressions.
Learning Out-comes:
a. Todayam makes the practitioner ready for the tala patterns and
coordination of different foot works for the forth coming Kathakali
framework.
b. Vattamvechukalasam is a necessary dance pattern applied in between
the Padam-s of Kathakali repertoire.
c. Sari is a Lasya bhava dance pattern, which is been practiced for Lasya
enlightenment.
d. Ashtakalasam is a difficult dance pattern composition. Learned for the
better understanding of Tala and complicated rhythmic foot
works/composition of Kathakali dance pedagogy.
e. Navarasangal are been practiced for better emotive facial structure;
used as stylized mode of presentation in Kathakali.

a. Thodayam
b. VattamvechuKalashamChempata Tal.
c. Sari.
d. Ashtakalasham.
e. Navarasangal.

2. CC-4 (THEORY) CREDITS-6. MARKS 60+15=75

Course Objectives:
a. The basic theatre concept of Kathakali.
b. Kathakali literature.
c. Analysis of Kathakali music.
d. The description of character division of Kathakali.
e. Refusal methods in Kathakali.
Learning Out-comes:
a. Th theatrical concept of Kathakali is been perceived through this
paper.
b. The structure of Kathakali script is been explained through the review
of Manipravala literature.
c. Analysis of Kathakali vocal and instrumental music is been understood
in ‘Music and Instrument of Kathakali’.
d. Diverse costume and make-up characterization of Kathakali is been
understood in ‘character divisions of Kathakali’.
e. The refusal methods from Natyasastra in Kathakali is been analyzed.

Page 37 of 109
a. Kathakali, the Environment theatre.
b. Literature of Kathakali.
c. Music & Instruments of Kathakali.
d. Character divisions of Kathakali.
b. Decline of Kathakali.

3. AECC-2 ENGLISH/EVS CREDITS-2. MARKS 20+5=25

4. TS-2 CREDITS-4 MARKS 40+10=50

5. GEC-2 (PRACTICAL) CREDITS-6. MARKS 60+15=75

Course Objectives:
a. Sari is a female character dance pattern.
b. Kummi is also a Lasya dance pattern.
c. Structure of Kathakali mudra communication.
d. Vattamvechukalasamd dance piece in between the Padam.
Learning Out-comes:
a. Sari is a Lasya bhava dance pattern, which is been practiced for Lasya
enlightenment.
b. Kummi is also a Lasya bhava dance pattern is been practiced for Lasya
enlightenment.
c. Structure of non-verbal communication is been enlightened through
‘creation of communication in Kathakali mudras.
d. Vattamvechukalasam is a necessary dance pattern applied in between
the Padam-s of Kathakali repertoire.

a. Sari.
b. Kummi.
c. Creation of words, sentences and communication through Kathakali mudras.
b. VattamvechuKalasham – Chempata.

Page 38 of 109
B.Mus. SEM-III (TOTAL CREDIT-26) TOTAL MARKS – 325

1. CC-5 (PRACTICAL) CREDITS-6. MARKS 60+15=75

Course Objectives:
a. Important composition of Kathakali repertoire.
b. Kummi is a Lasya dance pattern.
c. A plot from Uttaraswayamvara-story.
Learning Out-comes:
a. An item coordinated in dance structure where the student excels the
experience of Kathakali’s physical manifestation.
b. Kummi is a Lasya bhava dance pattern is been practiced for Lasya
enlightenment.
a. Purappadu.
b. Kummi.
c. Jaya jayanagaketana…
d. Medinipalaa…
e. Saravedhiaya… Ennalviratante… (attam)

2. CC-6(PRACTICAL) CREDITS-6. MARKS 60+15=75

Course Objectives:
Selected parts from a plot in Bakavadam story.
a. Sadaramayi…
b. Marutanandana…(attam)
c. Dwijavaramoule…
d. Shakatamitallo…(attam)
b. Nishacharendravada…

3. CC-7 (THEORY) CREDITS-6. MARKS 60+15=75

Course Objectives:
a. Renaissance of Kathakali.
b. General survey f Natyasastra.
c. Nritta, Nritya, Natya, Natyadharmi concept.
Learning Out-comes:
a. Analyzing the reformation of Kathakali from various dimensions.
b. A general understanding of Natyasastra.
c. Understanding the Nritta, Nritya, Natya, Natyadharmi concept related
to performing arts.
a. Kalamandalam and the renaissance Kathakali.
b. Nataysastra, a general survey.
c. Nrit(h)a.
d. Nrit(h)ya.
e. Natya.
f. Natyadharmi.

SECC-1 CREDITS-2. MARKS 20+5=25

OPTIONAL
Yoga.

Page 39 of 109
 SECC– 1 (Theory) CREDITS-2 MARKS
20+05=25
e. History of Yoga.
f. Yoga darsan
g. Mordern development of Yoga.
h. Yoga and Music.
Tabla

Sem - III
SECC– 1 (Practical) CREDITS-2 MARKS
20+05=25

e. Ability to play principal varnas of Tabla with proper fingering.

f. Knowledge of playing Dadra, Kaharwa and Teental (Theka only).
g. Ability to recite the above mentioned talas with claping in hands.
h. Knowledge of simple compositions like Kayeda (2) and Theka (2).

Kathakali Costume and Make-up

Sem - III
SECC– 1 (Theoretical) CREDITS-2 MARKS
20+05=25

e. Pacha-character Costume and Make-up design.

f. Kathi-character Costume and Make-up design.
g. Pacha-character Costume and Make-up detail study.
h. Kathi-characterCostume and Make-up detail study.

4. GEC-3 (PRACTICAL) CREDITS-6. MARKS

60+15=75
Course Objectives:
a. Todayam an essential preliminary item of Kathakali.
b. Vattamvechukalasam, dance piece in between the Padam.
c. Ashtakalasham is a dance pattern used for enjoyment of character.
d. Presenting the Garden.
Learning Out-comes:
a. Todayam makes the practitioner ready for the tala patterns and
coordination of different foot works for the forth coming Kathakali
framework.
b. Vattamvechukalasam is a necessary dance pattern applied in between
the Padam-s of Kathakali repertoire.
c. Ashtakalasam is a difficult dance pattern composition. Learned for the
better understanding of Tala and complicated rhythmic foot
works/composition of Kathakali dance pedagogy.
d. Describing the Garden through the gesture language of Kathakali.

a. Thodayam.
b. VattamvechuKalasham in Chempata and ChempaTalam.
c. Ashtakalasham.
d. Udyanavarnana.

Page 40 of 109
B.Mus. SEM-IV (TOTAL CREDIT-26) TOTAL MARKS – 325

1. CC-8 (PRACTICAL) CREDITS-6. MARKS 60+15=75

Course Objectives:
Selected parts from the plot of NalacharitamOnnamDivasam.

a. Sakhimare…
b. Pokapoonkavil…
c. Chaladalilchankaram…minnal…
d. Kandaletrayum…
b. Anganamarmoulimale…

2. CC-9(PRACTICAL) CREDITS-6. MARKS 60+15=75

Course Objectives:
Selected parts from the plot of Kalyanasougandikam.

a. Enkanava…
b. Manchelmizhi…
c. Vanavarnana…
d. Attam…Arihavaru…
b. Vazhilninupoka… (attam)

3. CC-10 CREDITS-6 MARKS 60+15=75

Part-A, GENERAL AESTHETICS

For Students offering Bengali Medium: - Reference Bengali Texts:-

I.PrabasjibanChoudhuri, Saundaryadarshan,
II.Sitansu Roy, Saundaryadarshan: PrathomikParichay

For Students offering English Medium: Reference English Texts:-

I. Aldrich: Philosophy of Art
II.Sitansu Roy: Studies in Music Aesthetics

Part-B, TAGORIEN AESTHETICS

For Students offering Bengali Medium: - Reference Bengali Texts: -

I.Rabindranath Tagore, SahiterPathe

a.Utsarga [Dedication]
b.Vastava [Real]
c.Tathya - O –Satya [Fact and Truth]

II. Rabindranath Tagore, Sahitya

a.Saundaryabodha [The sence of Beauty]
b.Saundarya – O – sahitya [Beauty and Leterature]

III. Rabindranath Tagore, Sangeet Chinta

Page 41 of 109
 a.Sangeet – O – Bhava [Music and feeling]
b.Sangeet – O – Kavita [Music and Poetry]
c.Sangeeter Mukti [ Emancipation of Music]

For Students offering English Medium: Reference English Texts:-

I.Rabindranath Tagore on Art and Aesthetics, Edited By P.Neogy (5 -
Selected pieces)

4. SECC-2 CREDITS-2. MARKS 20+5=25

5. GEC-4 (THEORY) CREDITS-6. MARKS MARKS

60+15=75
Course Objectives:
a. Keralian dance history.
b. Traditional Kathakali performance.
c. Instruments of Kathakali.
d. Characters played in Kathakali.
e. The Abhinaya.
Learning Out-comes:
a. Dance history of Kerala is been introduced to the students.
b. The Traditional aspects of the Kathakali performance is been
explained.
c. The importance of the instruments played in Kathakali is been
explained.
d. Diverse Characters/Roles played in Kathakali is been explained.
e. The explanations of abhinaya is ben analyzed.

a. Dance history of Kerala.

b. Traditional Kathakali performance of Kerala.
c. Background Instruments of Kathakali.
d. Character divisions of Kathakali.
b. Abhinaya – a general study.

SECC-2 CREDITS-2. MARKS 20+5=25

OPTIONAL
Yoga.

Sem – IV
SECC– 2 (Theory) CREDITS-2 MARKS
20+05=25
e. Ayurveda and Yoga.
f. Yogic diet.
g. Yoga therapy.
h. Yoga and Dance.

Tabla
Sem - IV

Page 42 of 109
 SECC– 2 (Practical) CREDITS-2 MARKS
20+05=25

e. Ability to play Teental (VilambitTheka), Rupak and only Theka of all

talas (6) introduced by Rabindranath Tagore.
f. Two Kayda in Teental.
Two Theka in Teental.
One Laggi in Dadra &Kaharwa respectively.

g. Knowledge of accompaniment with songs in following talas: - Teental,

Dadra, Kaharwa.

h. Playing Dwigun&Chogun in following Talas: - Teental, Ektal.

Kathakali Costume and Make-up

Sem - IV
SECC– 2 (Theoretical) CREDITS-2 MARKS
20+05=25

e. Tadi-character Costume and Make-up design

f. Minukku-character Costume and Make-up design
g. Tadi-character Costume and Make-up detail study.
h. Minukku-character Costume and Make-up detail study.

Page 43 of 109
B.Mus. SEM-V (TOTAL CREDIT-24) TOTAL MARKS – 300

1. CC-11 (PRACTICAL) CREDITS-6. MARKS 60+15=75

Course Objectives:
Selected parts from the plot of Kirmeeravadham.

a. Nallarkulam…
b. Drupada…
c. Kandalathimodam…
d. Mukharatebrisham….
b. Pettanagu…

2. CC-12 (THEORY) CREDITS-6. MARKS 60+15=75

Course Objectives:
a. The terms Lokadharmi, Tandava, Lasya.
b. The Abhinaya.
Learning Out-comes:
a. The concept of Lokadharmi, Tandava, Lasya is been explained in
details.
b. The explanations of abhinaya is ben analyzed and explained in
Kathakali.

a. Lokadharmi.
b. Tandav.
c. Lasya.
d. Abhinaya.
b. Abhinaya in Kathakali.

3. DSE-1 (PRACTICAL) CREDITS-6. MARKS 60+15=75

A. CHUTTY AND MAKE-UP (Optional)
Course Objectives: Pacha Character through make-up.
Sathwikam- Pacha.
a. Sketch on paper.
b. Facial Make-up
c. Chutti on Clay pot.

B. KATHAKALI SANGEETAM& RHYTHM (Optional)

Course Objectives: Basics of Vocal music in Kathakali.
a. Basic swara-s of relevant Raga.
b. VandanaSlokam- 2
c. Sari
d. Kummi

C. CHENDA (OPTIONAL).
Course Objectives: Basics of Chenda (Instrumental music).
a. Ganapatikkai- Preliminary practice.
b. TAKKITTA – Kai Sadhakam (hand and wrist exercise).
c. THARIKITA - Kai Sadhakam(hand and wrist exercise).

Page 44 of 109
 d. Sequential rhythmic cycle ofChenda hand practices.

D. MADDALAM (OPTIONAL).
Course Objectives: Basics of Maddalam (Instrumental music).
a. Ganapatikkai- Preliminary practice.
b. TATHITOMNAM –Patakai(hand exercise).
c. TAKINAKITATAK… - Patakai (hand exercise).
d. Sequential rhythmic cycleofMaddalam hand practices.

E. RABINDRA NRITYA (OPTIONAL).

Course Objectives: Plots selected from Rabindra Nritya.
a. “Chitrangada”… from 1st scene to transformation of Chitrangada.
b.“Shyama” ….from beginning to the murder scene.
c. “Chandalika”….from beginning to Jwaladan

4. DSE-2 (PRACTICAL) CREDITS-6. MARKS 60+15=75

A. CHUTTY AND MAKE-UP (Optional)
Course Objectives: Kathi Character through make-up.
Rajasam - Kathi
a. Sketch on paper.
b. Facial Make-up
c. Chutti on Clay pot.

B.KATHAKALI SANGEETAM& RHYTHM (Optional)

Course Objectives: Selected padam-s been practiced in Kathakali vocal music.
a. Sakhimare…
b. Chaladalilchankaram…
c. Enkanava…
d. Manchelmizhi…

C. CHENDA (OPTIONAL).
Course Objectives: Selected Rhythmic patterns been practiced in Chenda.
a. Vaythari of Kalasams (chembada, chemba, triputa).
b. Vaythari of vattam-vechuKalasangal (padinjakalam).
c. Vaythari of vattam-vechuKalasangal (madyamkalam, druthakalam).
d. Vaythari of Astakalasham.

D. MADDALAM (OPTIONAL).
Course Objectives: Selected Rhythmic patterns been practiced in Maddalam.
a. Vaythari of TodayamKalasangal(mukhachalam to hariharavidinuta).
b. Vaythari of TodayamKalasangal (hariharavidinuta to jayapalagopala).
c. Vaythari of TodayamKalasangal (jayapalagopala to
jenusrutashritamoule).
d. Vaythari of TodayamKalasangal (jenusrutashritamoule to
jayajayapankaja).

E. RABINDRA NRITYA (OPTIONAL).

Course Objectives: Plots selected from Rabindra Nritya.
a. “Chitrngada”.. from transformation scene to end.

Page 45 of 109
 b. “Shyma” …from murder scene to end.
c. “Chandalika”… from Jwaladan to end.
B.Mus. SEM-VI (TOTAL CREDIT-24) TOTAL MARKS – 300

1. CC-13 (PRACTICAL) CREDITS-6. MARKS 60+15=75

Course Objectives:
Selected parts from the plot of Balivijayam.
a. Jay JayRavana…
b. NaradaMahamune…
c. Ravanakelkani…
d. Chithramaho…
e. Bandhipatinu…Attam…

2. CC-14(THEORY) CREDITS-6. MARKS 60+15=75

Course Objectives:
a. Relation of music and dance.
b. The terms Angas, Upangas and Pratyangas.
c. Hand gesture of Kathakali.
d. Selected Kathakali stories
Learning Out-comes:
a. The inseparable Relationship between dance and music is been
verified.
b. The concept of Angas, Upangas and Pratyangas is been explained.
c. The gesticulation language is been explained.
d. The selected Kathakali stories are been explained insequence.

a. Relationship between Music and Dance.

b. Angas, Upangas and Pratyangas.
c. Mudras in Kathakali.
d. Selected Kathakali stories:
i. UtharaSwatyamvaram.
ii. Dakshayagam.
iii. Balivijayam.
iv. KalyanaSaugandhikam.
v. Bakavadham.

3. DSE-3 (PRACTICAL) CREDITS-6. MARKS 60+15=75

A. CHUTTY AND MAKE-UP (Optional)
Course Objectives: Chuvannathadi Character through make-up.
Tamasam – ChuvannaThadi
a. Sketch on paper.
b. Facial Make-up
c. Chutti on Clay pot.

B. KATHAKALI SANGEETAM& RHYTHM (Optional)

Course Objectives: Selected padam-s been practiced in Kathakali vocal music.
a. Jaya jayanagaketana
b. Saravedhiaya…
c. Sadaramayi…

Page 46 of 109
 d. Marutanandana…

C. CHENDA (OPTIONAL).
Course Objectives: Selected Rhythmic patterns been practiced in Chenda.
a. Padinjakidatakadheemtam.
b. Purapadu.
c. KuttitaramTiranoku.
d. Application of Chenda in Astakalasham.

D. MADDALAM (OPTIONAL).
Course Objectives: Selected Rhythmic patterns been practiced in Maddalam.
a. Padinjakidatakadheemtam.
b. StriveshaKalasangal (madhyamakalam).
c. StriveshaKalasangal (padinjakalam).
d. Application of Maddalam in Keli-mukham.

E. RABINDRA NRITYA (OPTIONAL).

Course Objectives: Selected songs from Rabindra Nritya.
a. BhanusingherPadavali
b. Dance of Nati from Natir puja
c. Dances on Festival Songs
4. DSE-4 (THEORY) CREDITS-6. MARKS 60+15=75
A. CHUTTY AND MAKE-UP (Optional)
Course Objectives: The character division, dress, ornaments and the make-up
is been analized theoretically.
a. Character divisions of Kathakali.
b. Dress and ornaments of Kathakali.
c. Aharya.
d. Preparation of facial make-up of Kathakali.

B. KATHAKALI SANGEETAM& RHYTHM (Optional)

Course Objectives: Theoretical analysis of Kathakali sangeetam dance and
instrumental music and rhythmic pattern. Influence of Carnatic Music in
Kathakali Sangeetam is been analyzed.
a. Kathakali Sangeetam.
b. Music, Dance and instruments.
c. Influence of Carnatic Music in Kathakali Sangeetam.
d. Rhythmic patterns of Kathakali.

C. CHENDA (OPTIONAL).
Course Objectives: Selected Rhythmic patterns been analized theoretically in
Chenda.
a. Thouryathrikam- The Music, Dance & Instruments.
b. Tala in the Indian classical tradition.
c. Tala- Pranas, Kaal, Marga, Kriya, Anga and Graha.
d. Importance of Chenda in Kathakali.

D. MADDALAM (OPTIONAL).

Page 47 of 109
 Course Objectives: Selected Rhythmic patterns been analized theoretically in
Maddalam.
a. Divisions of Vadyas.
b. Importance of Maddalam in Kathakali.
b. Tala -In Carnatic Music and Kathakali
c. Origin and development of Percussion instruments.

E. RABINDRA NRITYA (OPTIONAL).

Course Objectives: The history, important role of Kathakali and
Rabindranath’s aesthetics and dance is been analized theoretically.
a. History and development of Raindranritya
b. Importance and role of Kathakali Dance in the history of Rabindranritya
c. The Contribution of Kathakali Gurus in Rabindranritya
d. Rabindranath’s aesthetics and Dance

Page 48 of 109
 References for Kathakali Dance Theory
B. Mus. (Hons). {DSE, GE} Course.

1. THE NATYASASTRA – M.P. Ghosh,

Pub: Royal Asiatic Society of Bengal, Calcutta – 1950.

2. INTODUCTION TO BHARATA’S NATYASATRA - AdyaRangacharya,

Pub: Popular Prakasham, Calcutta – 1958.

3. KATHKALI – The dance - theatre - Kala:GovindanKutty,

Pub: The Asiatic Society, Calcutta – 1998.

4. INDIAN CLASSICAL DANCE ART - Sunil Kotari,

Pub: Marg Publishers, Bombay – 1979.

5. INDIAN CLASSICAL DANCE - KapilaVatsyayan,

Pub: Director of Pub. Dept. – 1974.

6. A GUIDE TO KATHAKALI - David Bolland,

Pub: National book trust, Delhi – 1980.

7. THE KATHAKALI COMPEX - Zerilli Philip,

Pub: Abhinav Publications, Delhi – 1984.

8. KATHKALI ENCYCLOPAEDIA - A.KrishnaKaimal,

Pub: National Book stalls – Kottayam – 1986.

9. KATHAKALI PLAYS - Agatha Jain Pillar,

Pub: D.C. Books – Kottyam – 1993.

10. KATHAKALI - K. BharataIyyer,

Pub: luzac and company – London – 1965.

11. THE OTHER MIND - Beryl De Zoete,

Pub: Victor Gollance – London – 1965.

12. TRADITIONS ORF INDIAN FOLK ARTS - KapilaVatsyayan,

Pub: Clarion Books new Delhi – 1978.

13. NATYA SASTRA - K.P.N. Pisharodi,

Pub: D.C. Books – Kottayam – 1983.

14. ABHINAYA DARPAN -Translation - Manmohan Ghosh

Metropolitan Printing House – Calcutta – 1934.

15. PHILOSOPHY OF AESTHETICS - M.P. Patwardhan,

Pub: Central Research Institute – Pune – 1969.

16. THE THEATRE UNIVERSE - Pramod Kale,

Pub: popular Prkasham – Bombay – 1974.

Page 49 of 109
17. IMITATION IN INDIAN AESTHETICS - A.C. Sukla,
Pub: Rupa and company – 1977.

18. THE DANCES OF INDIA - Reginald & Massy,

Pub: Tri color Books – Great Briton – 1989.

19. AESTHETIC MEANING - RekhaJhanji,

Pub: Ajanta publication – Bombay – 1980.

20. TRADITIONS INDIANS OF INDIAN FOLK ART – KapilaVatsyayan,

Pub: Clarion Books – New Delhi – 1982.

21. KATHAKALI - G.R. Pillai.

Pub: Travancore University Series – 1957.
______________

Page 50 of 109
 PROPOSED SCHEME FOR CBCS IN THE DEPARTMENT OF RSDD
RABINDRA NRITYA
(Curriculum: Core)
Semester 1
Core Course- C1 (Practical) Credit-6 Marks 60+15=75

Learning Outcome- These courses aims at making the students acquainted with Manipuri and
Kathakali and learn dances on Rabindrasangit as also participate in festivals. The students are
expected to experience the festivals and dances of Santiniketan.

1. Various Movements on different Taals.

2. Manipuri- basic steps and Chali (both Tandava and Lasya)
3. Kathakali- Kalasams
4. Dances of Festivals of Santiniketan.

Core Course- C2 (Theory) Credit-6 Marks 60+15=75

Objectives and outcomes of Teaching/Learning - Along with the practical, the theory is
designed to understand the history of dances in Santiniketan with a glimpse of ancient Indian
Dances particularly Manipuri dances.

1. Introduction to Rabindranritya. Formation of Dance in Shantiniketan.

2. A brief history of Indian Dances (Ancient Period): Vedas, Epics, Puranas.
3. Introduction to different forms of Folk dances of Bengal.
4. History of Manipuri Dance

2. Ability Enhancement Compulsory Course-AECC-1 Credit-2 Marks 40 + 10= 50

English/MIL
3. Generic Elective GE- 1 (Practical) Credit-6 Marks 60 + 15= 75
(The Learning Outcome- This course is an elective one and hence is aimed at training
the students in very basics of Rabindranritya steps and dancing the basic rhythm.
Enjoyable festival dances of Santiniketan are also included to make the class
enjoyable.)
a. Basic Steps of Rabindranritya
b. Some dance compositions on rhythm
c. Dances on Rabindrasangit
d. Festival dances

4. Tagore Studies Credit-4

Page 51 of 109
Semester 2
Core Course- C3 (Practical) Credit-6 Marks 60+15=75

(Learning Outcome- The students are expected tomaster Manipuri techniques and apply them
on Tagore’s songs. Also learning the folk dances will enhance the skill.)

1. Various Movements on different Taals.

2. Manipuri dances on BhanusingherPadavali
3. Folk: Raibenshe, Kathi, Mandira
4. Dance compositions on Seasonal songs (Prakriti Parjay)

Core Course- C4 (Theory) Credit-4 Marks 60+15=75

Learning Outcome- The students are expected to get enriched with the history of Tagore
dramas. Also the content, the contemporary relevance and performances are detailed as a
theory course.

1. Stories and their relevance, Characters and performances of- Balmiki Pratibha,
MayarKhela, Saradotsava, Prayaschitto, Raja, Shapmochan, TasherDesh, Chitrangada
2. Experiments on Tagore’s dramatic performances- Saradotsava, Prayaschitto, Raja,
Achalayatan, Dakghar, Phalguni
3. Experiments of different occasional dance recitals in Shantiniketan- Dance
compositions on selected nature-songs(Basanta, SeshBarshan, Nataraj) dance on
poetical recitals (Jhulan). Dance composition on physical exercises (jujutsu),
Ceremonial dances (barshamangal, brikshoropana), Natir Puja, Shapmochan,
Shishutirtha, TasherDesh (as Drama)

3. Ability Enhancement Compulsory Course-AECC-1 Credit-2 Marks 40 + 10= 50

EVS
4. Generic Elective GE- 2 (Practical) Credit-6 Marks 60 + 15= 75
(The Learning Outcome- Some rhythmic compositions are taught as practical lessons
along with simple dances on songs. By learning these students get an idea of
Rabindranritya)
a. Dances on several popular songs
b. Learning of the Talas and the songs.

Page 52 of 109
Semester 3

Core Course- C5 (Practical) Credit-8 Marks 60+15=75

Learning Outcome- The students are expected to learn the rhythm of the songs learnt and
dance on the rhythemic beats suiting the songs. The dances of different dramas and their
relevance in the grasped in this course.)

1. Various movements on different Talas

2. Excerpts from Balmiki Pratibha, Kalmrigaya, Mayar-Khela
3. Dances on Rabindra Songs in Natir Puja, SeshBarshan, Basanta

Core Course- C6 (Practical) Credit-8 Marks 60+15=75

(Learning Outcome- This course aims to train the students in the classical and folk dances
thereby giving the students the experience of learning different forms for application in
Rabindranritya.)

1. Manipuri- Chali and dances of Raslilas

2. Kathakali- Kalasam and basic mudras
3. Raibenshe and Dhali

Core Course- C7 (Theory) Credit-4 Marks 60+15=75

(LearningOutcome- With this theory course, the students are expected to gain knowledge of
the traditional acting of Indian dance and drama and also relate these with the Rabindranritya
performance.)

1. History of Indian Traditional Dances

2. History of Indian Classical Dances.
3. The specialties of Rabindranritya- angika, vacika, aharya, satvika- relating to the
tradition of our country. The place of his dance vision in the world.
4. Rabindrik Talas in the light of North Indian and South Indian Talas.

SECC-1 CREDITS-2. MARKS 20+5=25

OPTIONAL
Yoga.
SECC– 1 (Theory) CREDITS-2 MARKS
20+05=25
i. History of Yoga.
j. Yoga darsan
k. Mordern development of Yoga.
l. Yoga and Music.
Tabla

Sem - III
SECC– 1 (Practical) CREDITS-2 MARKS
20+05=25
Page 53 of 109
 i. Ability to play principal varnas of Tabla with proper fingering.
j. Knowledge of playing Dadra, Kaharwa and Teental (Theka only).
k. Ability to recite the above mentioned talas with claping in hands.
l. Knowledge of simple compositions like Kayeda (2) and Theka (2).

Kathakali Costume and Make-up

Sem - III
SECC– 1 (Theoretical) CREDITS-2 MARKS
20+05=25

i. Pacha-character Costume and Make-up design.

j. Kathi-character Costume and Make-up design.
k. Pacha-character Costume and Make-up detail study.
l. Kathi-characterCostume and Make-up detail study.

Generic Elective GE- 3 (Practical) Credit-6 Marks 60 + 15= 75

(The Learning Outcome- The students are expected to learn and gain knowledge on
the advanced items of Rabindranritya)
a. Dances on several songs of dance dramas
b. Learning of the Talas and the songs.

Page 54 of 109
Semester 4

Core Course- C8 (Practical) Credit-6 Marks 60+15=75

(Learning Outcome- This course aims to train the students in the classical and folk dances
thereby giving the students the experience of learning different forms for application in
Rabindranritya. Some compositions based on these classical dances give the idea of
composition in drama)

1. Manipuri- Songs based on Abhinaya

2. Kathakali- Purappad and Sari
3. Rabindranritya on NatarajRiturangashala (with recitations and songs)
Core Course- C9 (Practical) Credit-6 Marks 60+15=75

Learning Outcome- The students are trained in the Dramas of Tagore, wherein the evolution
of the dance is explained. The students are expected to experience Tagore’s dramas through
dance and dialogues)

1. Excerpts of TasherDesh (as Drama)

2. Excerpts of Chandalika (as Drama)
3. Excerpts of Shapmochan.
Core Course- C10 (Theory) Credit-4 Marks 60+15=75

Part-A, GENERAL AESTHETICS

For Students offering Bengali Medium: - Reference Bengali Texts:-
I.PrabasjibanChoudhuri, Saundaryadarshan,
II.Sitansu Roy, Saundaryadarshan: PrathomikParichay

For Students offering English Medium: Reference English Texts:-

I. Aldrich: Philosophy of Art
II.Sitansu Roy: Studies in Music Aesthetics

Part-B, TAGORIEN AESTHETICS

For Students offering Bengali Medium: - Reference Bengali Texts: -

I.Rabindranath Tagore, SahiterPathe

a.Utsarga [Dedication]
b.Vastava [Real]
c.Tathya - O –Satya [Fact and Truth]

II. Rabindranath Tagore, Sahitya

a.Saundaryabodha [The sence of Beauty]
b.Saundarya – O – sahitya [Beauty and Leterature]

III. Rabindranath Tagore, Sangeet Chinta

a.Sangeet – O – Bhava [Music and feeling]
b.Sangeet – O – Kavita [Music and Poetry]
c.Sangeeter Mukti [ Emancipation of Music]
For Students offering English Medium: Reference English Texts:-I.Rabindranath Tagore on
Art and Aesthetics, Edited By P.Neogy (5 - Selected pieces)

Page 55 of 109
Semester 5 (Total Credits 12 Marks 200)

Core Course- C11 (Practical) Credit-6 Marks 60+15=75

(Learning Outcome- The students will be able to grasp the dance compositions of dance
dramas and experience the theme and its relevance in Rabindranritya.)

1. Dance compositions on Adachoutal, Choutal, Jhaptal, Teora etc.

2. Dance Drama Chitrangada.
3. Traditional compositions of bols and instrumental music of various moods,
expressions and situational descriptions like transformation of Chitrangada, Hunting
in Chitrangada, pulling out water from well in Chandalika, Entries and Exits in
different Dance Dramas etc. Use of Props.

Core Course- C12 (Theory) Credit-4 Marks 60+15=75

(Learning Outcome- This theory course gives an insight to Tagore’s idion and concept of
dance through different important Readers.)

1. Reader - Nritya: Pratima Devi

2. Tagore's literature related to performances of Dance and Drama
3. Tagore’s aesthetics and Dance.
4. History of Costume, make-up and Set design in Shantiniketan
5. Personalities contributing to Rabindranritya- like Pratima Devi, Shantidev Ghosh and
so on.
6. History of Stage- from Natyashastra to Shantiniketan

1. Discipline Specific Elective (DSE)- 1 (Practical) Credit-6 Marks 60+15=75

(Learning Outcome- These are elective options among which only one should be
taken and the students are expected to gain special knowledge from exposure to one
of these.)

a. Manipuri Dance
• Laiharaoba dances- MaibiJagoi, Thabanchongba
• Raslila dances- Krishna Abhisara, RadahAbhisara, Krishna Nartan, Radha
Nartan, Jugal Nartan
• Dances on Tala Chali
• Movements like longlei, uplei, athaba, akhaiba, champrahekpi,
champrakhaibi and others
b. Kathakalii Dance
• Kalasam
• Purappad

c. Rabindranatya
• The Gitinatyas- Balmiki Pratibha, Kalmrigaya, MayarKhela, The songs of
Tagore drama/songs of introduction
• The songs for stage and acting- Gitabhinaya
• The accompaniment of instruments: An excerpt of a Gitinatya

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 • The idea and application of Stage Decorfor characters like Dhananjaya,
Thakurda, Surangama

a. Discipline Specific Elective (DSE)- 2 (Practical) Credit-6 Marks 60+15=75

Learning Outcome- These are elective options among which only one should be taken
and the students are expected to gain special knowledge from exposure to one of
these.)
a. Manipuri Dance
• One abhinaya dance
• Dances on Tanchap, Menkup and other talas
b. Kathakalii Dance
• Kalasam
• Purappad

c. Rabindranatya
1. Excerpt from the dramas- Bisarjan, Hasyakoutuk, Dakghar, Phalguni,
Sharodotsav, Raktakarabi, Natir Puja, Chandralika, Shishutirtha, TasherDesh,
Raja-Arupratan- Shapmochan
2. Light design for stage

SECC-2 CREDITS-2. MARKS 20+5=25

OPTIONAL
Yoga.

Sem – IV
SECC– 2 (Theory) CREDITS-2 MARKS
20+05=25
i. Ayurveda and Yoga.
j. Yogic diet.
k. Yoga therapy.
l. Yoga and Dance.

Tabla
Sem - IV
SECC– 2 (Practical) CREDITS-2 MARKS
20+05=25

i. Ability to play Teental (VilambitTheka), Rupak and only Theka of all

talas (6) introduced by Rabindranath Tagore.
j. Two Kayda in Teental.
Two Theka in Teental.
One Laggi in Dadra &Kaharwa respectively.

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 k. Knowledge of accompaniment with songs in following talas: - Teental,
Dadra, Kaharwa.

l. Playing Dwigun&Chogun in following Talas: - Teental, Ektal.

Kathakali Costume and Make-up

Sem - IV
SECC– 2 (Theoretical) CREDITS-2 MARKS
20+05=25

i. Tadi-character Costume and Make-up design

j. Minukku-character Costume and Make-up design
k. Tadi-character Costume and Make-up detail study.
l. Minukku-character Costume and Make-up detail study.

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Semester 6

Core Course- C13 (Practical) Credit-8 Marks 60+15=75

(Learning Outcome- The students learn the concept of costume and ornaments of
Santiniketan as used in Rabindranritya.)

1. Making of costumes and adornment of flowers and leaves in Rabindranritya.

2. Solo Stage Demonstration on Rabindrasangit and Dance Dramas.

Core Course- C14 (Theory) Credit-8 Marks 60+15=75

Learning Outcome- This theory course gives an idea of the texts of dance and the modern
period and great personalities of dance. The students will be able to relate the contribution of
Tagore in dance with respect o the Indian context.)

a. Introduction to Abhinaya Darpanam and Sangit Ratnakara

b. Modern Period of Indian Dance
• Contributions of Rukmini Devi, Madam Menoka, Guru Amubi Singh,
Guru Bipin Singh and other Classical Dancers on Stage
• Contributions of Udayshankar and Rabindranath

1. Discipline Specific Elective (DSE)- 3 (Practical) Credit-6 Marks 60+15=75

(Learning Outcomes- These are elective options among which only one should be
taken and the students are expected to gain special knowledge from exposure to one
of these.)

a. Manipuri Dance
• Prabandha dance
• Dances on different talas
b. Kathakalii Dance
• Kalasam
• Purappad

c. Rabindranatya
• The dance dramas of Rabindranath: Excerpts from Chitrangada,
Chandalika, Shyama
• Make up and Costumes
• Theatre Criticism

2. Discipline Specific Elective (DSE)- 4 (Theory) Credit-4 Marks 60+15=75

(Learning Outcomes- These are elective options among which only one should be
taken and the students are expected to gain special knowledge from exposure to one
of these.)

a. Manipuri Dance
• History of Manipuri Dance- the Rajas and their contributions
• The different kinds of Manipuri Dance- Raslila, Sankirtana, Jagoi
• The techniques of the different dances
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 • Festivals of Manipur
• The Talas of Manipuri Dance
b. Kathakalii Dance
• History of Kathakali dances
• The techniques and the other regional dances of Kerala
• Comparison with other dances of South India

c. Rabindranatya
I. Rabindranatok (The dramas of Tagore)
• The text
• Acting
• Application
• Pedagogy
• Relevance
II. Rabindranatok (The dramas of Tagore)
• The types
• The specialities
• Suitability of Acting
• Production
III. Rabindranatok (The dramas of Tagore)
• In Translation
• In Films

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 Proposed Marks Division for 3 Years B.Mus. Honours Course
(ChoiceBased Credit System).
Dept.: Rabindra–Sangit,Dance&Drama,Sangit–Bhavana,V.B.
Subject : Drama and Theatre Arts.
FOR CORECOURSE.

Total Credit Points : 84Credits Total Marks of the Course : 1050

➢ 20% Marks will be treated as Internal Assessment in each Course.
• Semester : I = 150 Marks
Course Numbers Marks Credit Point
CC – 1 (Practical) 60 + 15 = 75 6
C C– 2 60 + 15 = 75 6
(Theoretical)
Total = 12
• Semester : II = 150 Marks
Course Numbers Marks Credit Point
CC–3 (Practical) 60 + 15 = 75 6
CC – 4 (Theoretical) 60 + 15 = 75 6
Total = 12
• Semester : III = 225 Marks
Course Numbers Marks Credit Point
CC – 5 (Practical) 60 + 15 = 75 6
CC – 6 (Practical) 60 + 15 = 75 6
CC –7 60 + 15 = 75 6
(Theoretical)
Total = 18
• Semester : IV = 225 Marks
Course Numbers Marks Credit Point
CC –8 (Practical) 60 + 15 = 75 6
CC – 9 (Practical) 60 + 15 = 75 6
CC –10 (Theoretical) 60 + 15 = 75 6
Total = 18
• Semester : V = 150 Marks
Course Numbers Marks Credit Point
CC – 11 (Practical) 60 + 15 = 75 6
CC – 12 (Theoretical) 60 + 15 = 75 6
Total = 12
• Semester : VI = 150 Marks
Course Numbers Marks Credit Point
CC – 13 (Practical) 60 + 15 = 75 6
CC –14 (Theoretical) 60 + 15 = 75 6
Total = 12

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 SYLLABUS FOR B. MUS. HONOURS CHOICE BASED CREDIT SYSTEM.
(3 YEARS COURSE)
Subject: Drama and Theatre Arts.
==================================================================
FOR CORE COURSE.
** N.B. : Total Credit Points : 84 Credits.
Total Marksof the Course : i) Practical Course / Papers : 600 Marks.
ii) Theoretical Course / Papers : 450Marks.
Total : 1050 Marks.
➢ 20% Marks will be treated as Internal Assessment in each Course.
==================================================================
PROPOSED AREAS OF STUDIES TEORETICAL AND PRACTICAL COURSES / PAPERS.

1st Semester: Full Marks : 150 ( 120 + 30 ) ---> Credit Point : 12 Credits.

Course : CC – 1 (Practical) : Marks 75 (60 + 15) ---> Credit Point : 6 Credits.

• Voice and Elocution and Body Preparation, Mime, Emotion & Expression and
Improvisation.

OBJECTIVE & OUTCOME OF TEACHING/LEARNING

OBJECTIVE

As pupil will be joining a fresh without any baggage of subject or discipline knowledge, so
our objective is to start from the very basic and provide them basic practical input of theatre
and movement. Here, they will be learning basic physical movements, mime and movement
classes, voice culture exercises, emotion and expressions in practical course.

OUTCOME

Our students have got first-hand experience of basics of theatre through this practical course
and now they are aware of his own body, movements, expressions, voice culture and
improvisations. Though, these are basics but they are the backbone of theatre.
Course : CC –2(Theoretical) : Marks 75 (60+ 15) ---> Credit Point : 6 Credits.

• Theory of Drama &Dramaturgy(Oriental & Western) and Play Making & Script
Writing.
OBJECTIVE & OUTCOME OF TEACHING/LEARNING

OBJECTIVE

Our objective is to provide basic understanding of theoretical framework of the drama &
theatre discipline. The learners will be getting orientation to theory of drama & dramaturgy,
play making & script writing through the theoretical course.

OUTCOME

Our students have got the basic understanding of theatre through this theoretical course. We
have covered various theoretical elements of drama & theatre art discipline and now they are
prepared to take dive into sea of discipline specific knowledge.

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2ndSemester : Full Marks : 150 ( 120+ 30 ) --->Credit Point : 12 Credits.

Course : CC – 3 (Practical) : Marks 75 (60 + 15) --->Credit Point : 6 Credits.

• Acting : Verse (Tagore and Non–Tagore) for Proscenium stage : with actor’s Note–
book (20 marks).

OBJECTIVE & OUTCOME OF TEACHING/LEARNING

OBJECTIVE

After initiating pupil in the basics of practical and theoretical paradigm in the last semester,
here, they are being offered specific courses and modules. In the very beginning they are
being offered acting (verse) course in practical module as we need to make them aware of use
of words & language and how much they are important for our communication. Verse and
Poetry is the best tool to orient them for this purpose. Thus, Acting Verse (Tagore & Non-
Tagore) course has been offered in this semester.

OUTCOME

By the end of this semester students have learned techniques of acting (verse) and become
aware of the power of words and language we use through poetry and in daily life.

Course : CC –4 (Theoretical) : Marks 75 (60 + 15) --->Credit Point : 6 Credits.

• Play Analysis (Tagore and Non–Tagore Plays).

OBJECTIVE & OUTCOME OF TEACHING/LEARNING

OBJECTIVE

After initiating pupil in the basics of theoretical paradigm in the last semester, here, they are
being offered specific courses and modules in theoretical framework. The second module is
theoretical and our objective is to enhance the capability of the students to understand the
elements and aspects of plays through play analysis. We provide the various tools and
techniques provided by Bharata, Aristotle and other masters to the learners.

OUTCOME

They also have learned the elements and aspects of plays through the play analysis course,
where they have learned through the views of various masters and stalwarts of theatre
discipline. Now they are very much into the specific discipline knowledge.

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3rd Semester : Full Marks : 225 ( 180 + 45 ) ---> Credit Point : 18 Credits.

Course : CC – 5 (Practical) : Marks 75 (60 + 15) --->Credit Point : 6 Credits.

• Acting : Non–Verse (Tagore and Non–Tagore) for Proscenium–stage : with actor’s

Note-book (20 marks).

OBJECTIVE & OUTCOME OF TEACHING/LEARNING

OBJECTIVE

Acting Non-Verse (Tagore and Non-Tagore) is all about giving glimpses of the world theatre
practice through various acting processes adopted and evolved by professionals for
Proscenium Stage. Our objective through this course is to pass the techniques and
understanding of non-verse acting to our pupils for proscenium stage which come into force
in the 19th-20th century.

OUTCOME

Through this course they have learned various acting techniques, modules and methods
which has been created by master like Stanislavski, Anthon Chekhov, Mykovasky, Grotovski
and others in the late 19th and 20th century, specifically for proscenium stage.

Course : CC – 6 (Practical) : Marks 75 (60 + 15) ---> Credit Point : 6 Credits.

• Acting in Different Media ; for other than Proscenium–Stage(Tagore and Non–

Tagore) : with actor’s Note–book (20 marks).

OBJECTIVE & OUTCOME OF TEACHING/LEARNING

OBJECTIVE

Our aim and objective through this course is to prepare our students for their professional
careers with understanding, attitude and learning of techniques of acting for various other
mediums than drama & theatre. This course has been introduced seeing the demand and
interest of the students and the industry in which our students will be getting observed in
future.

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OUTCOME

They are more equipped with techniques of acting in various mediums with this practical
course which is going to help them in their future career as a performer. They have got
exposer to the needs of creative industry and their acting potential through this professional
training.

Course : CC –7 (Theoretical) : Marks 75 (60 + 15) ---> Credit Point : 6 Credits.

A. History and Development of World Theatre : with reference to stage and drama.

OBJECTIVE & OUTCOME OF TEACHING/LEARNING

OBJECTIVE

After initiating pupil in the basics of theoretical paradigm in the first two semesters, here,
they are being offered specific courses and modules in theoretical framework. Through this
course our students will be aware of the history and development of world theatre. World
Theatre has a glorious history and knowing and understanding them provides another
perspective to the students of this part of the world.

OUTCOME

Through this course now our students are more envisioned about the various trends, patterns
and developments happened in the history of world theatre. As, history and development of
world theatre has a lot to do with development of overall stream of drama & theatre arts, thus
it has further advanced the understanding of our students of the theatre world.

B. General Aesthetics (Theory) Credit-4 Marks 40+10=50

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4th Semester : Full Marks : 225 ( 180 + 45 ) ---> Credit Point : 18 Credits.

Course : CC –8 (Practical) : Marks 75 (60+15) ---> Credit Point : 6 Credits.

• Make–Up &Costume: with reference to drama and stage performance.

OBJECTIVE & OUTCOME OF TEACHING/LEARNING

OBJECTIVE

Make-Up & Costume plays very important role in theatre and play making. Thus, it is
mandatory for all the performers to learn these as it is they who have to handle it on stage.
But, for those who wish to make a career in Make-Up & Costume, this is really a great course
as there is a lot of demand of these experts in the creative industry. Our objective is to
provide a professional training in Make-Up & Costume to our students, so that they can also
think about it as a career option.

OUTCOME

Our students have now equipped with one very essential skill related to not only drama &
theatre arts but also creative industry. By learning it, they have learned the potential it has as
a professional career option in future.

Course : CC –9 (Practical) : Marks 75 (60+15) ---> Credit Point : 6 Credits.

• Scenography (Set–design, painting & making) with reference to Drama and stage
performance.

OBJECTIVE & OUTCOME OF TEACHING/LEARNING

OBJECTIVE

In the technical part and learning of theatre making Scenography course comprising set
design and overall design of the production is very much significant. In west this is one of the
most lucrative career option for the students of drama & theatre arts. We wish to provide
first-hand experience of set design, model making and its application in the production
through this course. Our aim is to provide professional training so that our students can
choose it as a career option in future.

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OUTCOME

A well trained student can work as a Scenographer or a Production Designer/Manager in the

field. Even if he is not opting it for a professional career even then first-hand experience and
understanding of the same help them in any of their endeavor in theatre making.

Course : CC–10 (Theoretical) :Marks 75 (60+ 15) ---> Credit Point : 6 Credits.

Part-A, GENERAL AESTHETICS

For Students offering Bengali Medium: - Reference Bengali Texts:-

I.PrabasjibanChoudhuri, Saundaryadarshan,
II.Sitansu Roy, Saundaryadarshan: PrathomikParichay

For Students offering English Medium: Reference English Texts:-

I. Aldrich: Philosophy of Art
II.Sitansu Roy: Studies in Music Aesthetics

Part-B, TAGORIEN AESTHETICS

For Students offering Bengali Medium: - Reference Bengali Texts: -

I.Rabindranath Tagore, SahiterPathe

a.Utsarga [Dedication]
b.Vastava [Real]
c.Tathya - O –Satya [Fact and Truth]

II. Rabindranath Tagore, Sahitya

a.Saundaryabodha [The sence of Beauty]
b.Saundarya – O – sahitya [Beauty and Leterature]

III. Rabindranath Tagore, Sangeet Chinta

a.Sangeet – O – Bhava [Music and feeling]
b.Sangeet – O – Kavita [Music and Poetry]
c.Sangeeter Mukti [ Emancipation of Music]

For Students offering English Medium: Reference English Texts:-

I.Rabindranath Tagore on Art and Aesthetics, Edited By P.Neogy (5 -
Selected pieces)

Page 67 of 109
5th Semester : Full Marks : 150 (120 + 30) ---> Credit Point : 12 Credits.

Course : CC – 11 (Practical) : Marks 75 (60+ 15) ---> Credit Point : 6 Credits.

• Script–Writing in Different Media.

OBJECTIVE & OUTCOME OF TEACHING/LEARNING

OBJECTIVE

Script writing and having an in depth knowledge of a play script is a vital part of the theatre
training. Each and every one related to drama & theatre arts in any form has to deal with a
script. It could be a written or an improvised script. Giving perspective about script writing or
developing a play text through improvisations is in store here for young students. This could
be very much helpful in their future.

OUTCOME

In any case script writing and developing a text into performance is needed to be understood
well by students. It will help him a lot in his own theatre practice. One can also seek a
professional career in playwriting or as a screen writer.

Course : CC – 12 (Theoretical) Marks 75 (60 + 15) ---> Grade Point : 6 Credits.

• History and Development of Bengali Theatre (other than Tagore–theatre) : with

reference to Stage and drama.

OBJECTIVE & OUTCOME OF TEACHING/LEARNING

OBJECTIVE

Bengali Theatre has its own vast and elaborate history in ancient and modern Indian drama. It
has contributed a lot in play making traditions of India and given birth to many-many masters
in their own right. Our objective here, is to provide a detail picture of the contribution
Bengali Theatre has made in the discipline.

OUTCOME

As, most of our students are from the Bengali background, this course plays the role of a
stimulus for the students. They feel reliant and confident by knowing the contribution of their
forefathers in theatre. It also help them in being in touch with their own heritage and lineage.

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6thSemester : Full Marks : 150 (120 + 30) ---> Credit Point : 12 Credits.

Course : CC –13 (Practical) Marks 75 (60 + 15) ---> Credit Point : 6 Credits.

• Stage–Lighting and Sound & Background Music.

OBJECTIVE & OUTCOME OF TEACHING/LEARNING

OBJECTIVE

Light, Sound and background Music plays such a vital role in play making. Having a better
understanding of its use in theatre making gives a clear direction to the young practitioners.
Our objective is to make them learn it to use these in a professional manner.

OUTCOME

Students who learn stage lighting and Sound design can have a great and lucrative career not
only in drama & theatre arts but also in the creative industries.

Course : CC –14(Theoretical) Marks 75 (60 + 15) ---> Credit Point : 6 Credits.

• History and Development of Tagore–theatre And History and Development of

Non–Proscenium Theatre (other than traditional and folk forms).

OBJECTIVE & OUTCOME OF TEACHING/LEARNING

OBJECTIVE

Tagore has a very distinct vision of play writing and theatre making. Tagore rooted himself in
the indigenous Indian theatre traditions and rediscovered the magic of Indian theatre through
his GeetiNatya and Nritya Natya, which has element of total theatre propagated by our
forefathers. We wish to pass his vision through his works to the students.

OUTCOME

The students have become aware of not only our roots but also their implication in modern
play writing and making. Tagore’s works provide them to see through the artificial elements
in theatre and go for simple yet suggestive practices.

Page 69 of 109
 SYLLABUS FOR B. MUS. CHOICE BASED CREDIT SYSTEM.
(3 YEARS COURSE)
Subject : Drama and Theatre Arts.
==================================================================
FOR CORE COURSE.
** N.B. : Total Credit Points : 84 Credits.
Total Marks of the Course : i) Practical Course / Papers : 600 Marks.
ii) Theoretical Course / Papers : 450 Marks.
Total : 1050 Marks.
➢ 20% Marks will be treated as Internal Assessment in each Course.
==================================================================
PROPOSED AREAS OF STUDIES TEORETICAL AND PRACTICAL COURSES / PAPERS.

1st Semester: Full Marks : 150 ( 120 + 30 ) ---> Credit Point : 12 Credits.
Course : CC – 1 (Practical) : Marks 75 (60 + 15) ---> Credit Point : 8 Credits.
• Voice and Elocution And Body Preparation, Mime, Emotion & Expression and
Improvisation.
*N.B. : This Course CC– 1 [Practical paper] divided into two(2) Major Groups as
follows –
1.Group – I : Voice and Elocution : 28 + 7 = 35 marks.
2.Group – II:BodyPreparation,Mime,Emotion& Expression and Improvisation
: 32 + 8 = 40 marks.
*N.B. : The above mentioned Group – I of said Course CC – 1 [Practical paper] also
divided into two(2) parts as Voice and Elocution.
1.Group – I : Voice and Elocution : 28 + 7 = 35 marks.
1. Part – i :Voice : 16 + 04 = 20 marks.
{Fundamentals of voice production and speech mechanism; voice registration; resonance,
volume, pitch, tone etc., kinds & methods of breathings, requirement of a stage – voice;
volume,speech defects and their corrective measures etc. Introductory breathing exercises,
voice in different moods ; noise, musical voice, whispering, weeping, crying, laughing etc.}.
**Sub – Text : Using all the above mentioned elements in the given speech (Pieces to be
selected by the Dept. from time to time ).

2. Part – ii :Elocution( Sight – Reading and Recitation ) : 12 + 03 = 15 marks.

{Pronunciation and Enunciation, Pronunciation of vowels and consonants; accent, pause,
rhythm, prosody ; syllable, matra, parva, chhanda etc., Dialect , Verse & Non–Verse etc.}.
**Sub –Text : Using all the above mentioned elements in the given speech (Pieces to be
selected by the Dept. from time to time ).
# Reference Text Books for Elocution as follows :
1. For Sight – Reading (to be selected) :
I ) Rabindranath Tagore : Kalantar/ Sanchay, Galpaguchha.
II ) Bankim chandraChattapadhyay : Kapalkundala / Durgesh Nandini.
III ) D . L .Ray :Chandragupta/ KshiradprasadVidyavinod : Nara Narayan.
IV )BuddhadevBasu : TapasweeTaranginee.
V )Sambhu Mitra : Chand Baniker Pala.

2. Recitation (to be selected & pieces to be memorized) :

I ) Madhusudan Dutta : MeghnadBadh Kavya ; canto – IV.
II ) Rabindranath Tagore : Chitra , Katha ,Kahinee.
III )Jibanananda Dash : Srestha Kavita.

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# N .B . : Pieces for Non – Bengali students (instead of Bengali texts) are to be selected by
the Dept. from time to time.

***N .B . : Each student is required to present the passages, pieces and other items of Voice
& Elocution which will be provided by the
Dept.

2.Group – II:BodyPreparation,Mime,Emotion& Expression and Improvisation

: 32 + 8 = 40 marks.
*N.B. : The above mentioned Group – II of said Course CC – 1 [Practical paper]
also divided into four (4) parts as Body Preparation ,Mime , Emotion
& Expressionand Improvisation.
1.Part – i :Body Preparation : 08 + 02 = 10 marks.
{General knowledge about Human Anatomy & Physiology, Physical Exercises (with &
without music) -- different parts of the body; hands, waist, shoulder, neck, legs etc.,
movements, relaxation, yogasana etc.}.
2.Part – ii :Mime : 08 + 02 = 10 marks.
{Origin and its development, stage acting and mime; the art of mime; motion, fluidity, grace,
gesture, expression, composition, creation of illusion, solo and group mime; sketch buildup,
make – up and costume of mime etc.} .
3. Part – iii :Emotion& Expression : 08 + 02 = 10 marks.
{General knowledge about face – muscles, Knowledge about Emotion; Rasa & different
types of Bhavas And total Expression, Exercises of face–muscles, eye-lid, eye-brow, eye-
ball, chine etc., Gesture of head, neck, hands, legs etc., Emotion & Bodily expression,
Concentration, Sentiment – its types; object, person, collective, self etc., reflex & instinct,
nature of feeling, sensation & feeling, mood, temperament, disposition, passion etc.}.
4. Part – iv :Improvisation : 08 + 02 = 10 marks.
{Concentration exercises, exercises of sense, exercises for developing power of association,
exercises for Improvisation; details of ––who are you / the are you, why are you,where are
you,what are you, when are you etc., Improvisation with voice and without voice etc.}.
**Sub –Text : Using all the above mentioned elements in the given items & Pieces are to be
selected by the Dept. from time to time.
***N.B.:Each student is required to present the pieces and other items of Body
preparation & exercises, mime & pantomime, emotions & expressions,
movement etc., Improvisation ; with & without voice, sketches etc. which will
be provided by the Dept.from time to time.

➢ Special Remarks regarding the Examination of Course CC – 1 [Practical paper]:

Examinations of Group – I and Group – II will be held separately.

Course : CC –2(Theoretical) : Marks 75 (60+ 15) ---> Credit Point : 6 Credits.

• Theory of Drama &Dramaturgy(Oriental & Western) and Play Making & Script
Writing.

*N.B. : This Course CC– 2 [Theoretical paper] divided into two(2) parts as Theory
of Drama &Dramaturgy And Play Making & Script Writing.

1. Part - i :Theory of Drama & Dramaturgy(Oriental&Western):32+08=40 marks.

Page 71 of 109
{Definition of Drama, Elements of Drama, Elements of Dramatic compositions : premise,
theme, plot, division of action, characterization, dialogue, song/music etc., Structure of
Drama; eastern & western, Theory of Rasa, Dramatic convention, Classification of Drama;
Pouranik, historical, social, tragedy, comedy, tragi–comedy, melodrama, realistic, romantic,
symbolical, epic, absurd, allegorical, expressionistic, musical etc., Geeti–Natya and Nritya–
Natya, Tagore’s own views etc., Special reference to Bharata’s Natyashastra,
Dhananjaya’sDasharupaka etc., Origin of Indian Drama, Elements of natya : four types of
abhinaya; Dharmi; vritti, Pancha– sandhi, Pancha– avastha, Pancha–arthaprakriti; Natya–
Saranga, Silpa–Saranga., Special reference to Aristotle, Jhon Dryden, A. C. Bradley, G. B.
Shaw, A. Nicoll, G. Freytag, Lajos Egri, J. H. Lawson,etc.}.

2. Part – ii :Play Making&Script Writing : 28 +07 = 35 marks.

{With special reference to Premise, Theme, Plot – Action, Act Structuring – Introduction &
Exposition, Rise, Climax, Fall, Catastrophe; Exposition, Rising Action, Clash, Climax;
Exposition, Climax – rising action, Acme – crisis, Sequel, Conclusion; Stage – picture /
topography), Dramatic, Un–dramatic, Anticlimax; Curiosity & Interest, Plausibility;
Character --- Dimensioned & Bone Structure (i.e. tri – dimensional; physiology, sociology
and psychology), Character Growth, Will in character, Character plotting the play, Pivotal
character, Different types of Character & Orchestration, Unity of opposite, Character
transition, Conflict – static, jumping, Fore – shadowing, rising; point of attack & expression;
crisis, climax, resolution; plot – selection, division of action, obligatory scene; dialogue ---
character – language, Connection with will & necessity, Feeling & Emotional Load, Fore
– shadowing coming events, Creating conflict, Revealing character & Proving the premise,
Sense of economy, Casual connection, Expression of thought & Philosophy; Musical play,
Jatra, Radio – play, Film, T.V., Open – air play, Skit & Street – Drama etc., Basic concept of
script in different media, Basic concept of adaptation from different sources, Knowledge of
different aspects of Film & T. V. Script and scenario writing, Special nature of the script –
writing for a Radio – play,Skit, Street – play, Film, T.V. etc., Basic concept of Script –
writing based on folk – theatre tradition And other relevant items of play – making & script
– writing}.

Page 72 of 109
2ndSemester : Full Marks : 150 ( 120+ 30 ) --->Credit Point : 12 Credits.

Course : CC – 3 ( Practical ) : Marks 75 ( 60 + 15 ) --->Credit Point : 6 Credits.

• Acting : Verse (Tagore and Non–Tagore) for Proscenium stage : with actor’s Note –
book (20 marks).
•
*N.B. : This CourseCC– 3[Practical paper] divided into two(2) parts as follows –
Performance in two short scenes / pieces And Prepare the Actor’s Note –
Book.
[with reference to Character; protagonist – antagonist – pivotal character – allied agents –
background agents, Character – dimensions, Will, Conflict, Growth, Dialogue, Song,
Emotion, Rasa, Different types of acting, Costume &Make – up, Play – analysis etc.].

{ * N . B. : Assessment of Class – Works to be made jointly by the teachers concerned }.

[ 2 Scenes /pieces one from Tagore andone from Non – Tagore’s Verseplays are to be
selected by the dept. from time to time or chosen by the student with the approval of the
dept.
# Practical :i ) Stage Performances of two short scenes / pieces = 40 marks / (20 + 20)
marks.
ii ) Actor’s Note – Book [ any one of above text ] = 20 marks.
Total = 60 marks.

# i )Performance of two short scene / pieces : The students required to participate in two
short scenes / pieces which will be provided / selected by the dept. 10 to 12 days before
the final exams.) of 10 to 15 minutes duration directed by himself / herself.

# ii )Actor’s Note – Book : Each student is required to submit an Actor’s Note – Book ,
which should contain a detailed analysis of the roles he / she has played during the year.
this Note – book should contain the sub-text, the motivation and the movements of the
character relating them to the whole production.

Course : CC –4 (Theoretical) : Marks 75 ( 60 + 15 ) --->Credit Point : 6 Credits.

• Play Analysis (Tagore and Non–Tagore Plays).

{With special reference to Premise, Theme, Type; Plot – Structure, Elements; Division of
action – Act, Scene, Sequence etc., Pancha – sandhi, Pancha – avastha, Pancha –
arthaprakritietc., Character(s) – Protagonist, Antagonist, Pivotal character, Allied–agent(s),
Background–agent(s), Character –– dimensions, Will, Conflict, Crisis etc., Growth; Dialogue,
Song / music/ rhythm, Thought, Rasa, Emotion, Acting etc.}.

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**Reference Texts for Play Analysis :
I. Sophocles :Oedipus Rex / Antigone
II. W. Shakespeare :Hamlet and A Midsummer Night’s Dream.
Ill. H .Ibsen :Ghost / A Doll’s House.
lV.A .P . Chekhov / B .Brecht : One Play.
V. Kalidasa :AbhijnanSakuntalam / Sudrak : Mrichhakatikam.
VI.D .L .Roy :Shahjahan / Noorjahan.
VlI. Girish Chandra Ghosh :Bilwamangal Thakur/ KshirodeprasadVidyavinod,Nara
Narayan.
VllI. Bijan Bhattacharya :Navanna / Devi Garjan.
IX. Badal Sarkar :Evamlndrajit.
XI. SambhuMitra :ChandBaniker Pala.
XII. Rabindranath Tagore :Visarjan/Raja–O–Rani, Raja/DaakGhar/Mukta
Dhara/RaktaKarabi.

**N. B. : Texts are to be selected by the Department from time to time / year to year And
Texts For Non – Bengali students (instead of Bengali texts) are to be selected by
the Dept. from time to time .

Page 74 of 109
3rd Semester : Full Marks : 225 ( 180 + 45 ) ---> Credit Point : 18 Credits.

Course : CC – 5 ( Practical) : Marks 75 ( 60 + 15 ) --->Credit Point : 6 Credits.

• Acting : Non – Verse (Tagore and Non –Tagore)for Proscenium stage : with actor’s
Note-book (20 marks).
•
*N.B. : This CourseCC– 5[Practical paper] divided into two(2) parts as follows –
Performance in two short scenes / pieces And Prepare the Actor’s Note –
Book.
[with reference to Character ; protagonist – antagonist – pivotal character – allied agents –
background agents, Character – dimensions, Will, Conflict, Growth, Dialogue, Song,
Emotion, Rasa, Different types of acting, Costume & Make – up, Play – analysis etc.].

{ * N . B. : Assessment of Class – Works to be made jointly by the teachers concerned}.

[2 Scenes /pieces one from Tagore and one from Non – Tagore’s Non –Verseplays are to be
selected by the dept. from time to time or chosen by the student with the approval of the
dept.].
# Practical :i ) Stage Performances of two short scenes / pieces = 40 marks / 20 + 20 marks.
ii ) Actor’s Note – Book [ any one of above texts ] = 20 marks.
Total =60 marks.

# i )Performance of two short scene / pieces : The students required to participate in two
short scenes /pieces which will be provided / selected by the dept. 10 to 12 days before
the final exams.) of 10 to 15 minutes duration directed by himself / herself.

# ii )Actor’s Note – Book : Each student is required to submit an Actor’s Note – Book ,
which should contain a detailed analysis of the roles he / she has played during the
year. this note – book should contain the sub-text, the motivation and the movements of
the character relating them to the whole production.

Course : CC – 6 (Practical) : Marks 75 ( 60 + 15 ) --->CreditPoint : 6 Credits.

• Acting in Different Media ; other than Proscenium–Stage(Tagore and Non –Tagore) :

with actor’s Note – book (20 marks).
•
*N.B. : This CourseCC– 6[Practical paper] divided into two(2) parts as follows –
Performance in two short scenes / pieces And Prepare the Actor’s Note
–Book.
[with reference to Character ; protagonist – antagonist – pivotal character – allied agents –
background agents, Character–dimensions, Will, Conflict, Growth, Dialogue, Song,
Emotion, Rasa, Different types of acting, Costume & Make – up, Play – analysis etc.].

{ * N . B. : Assessment of Class – Works to be made jointly by the teachers concerned }.

Page 75 of 109
[2 Scenes /pieces one from Tagore and one from Non – Tagore’s Verse / Non – Verseplays
are to be selected by the dept. from time to time or chosen by the student with the approval
of the dept.].
# Practical :i) Stage Performances of two short scene / pieces = 40 marks / 20 + 20 marks.
ii) Actor’s Note – Book [ any one of above texts ] = 20 marks.
Total = 60 marks.

# i) Performance of two short scene / pieces : The students required to participate in two
short scenes / pieces which will be provided / selected by the dept. 10 to 12 days before
the final exams.) of 10 to 15 minutes duration directed by himself / herself.

# ii )Actor’s Note – Book : Each student is required to submit an Actor’s Note – Book ,
which should contain a detailed analysis of the roles he / she has played during the
year. this note – book should contain the sub-text, the motivation and the movements of
the character relating them to the whole production.

Course : CC –7 (Theoretical) : Marks 75 ( 60 + 15 ) ---> Credit Point : 6 Credits.

• History and Development of World Theatre : with reference to stage and drama.

*N.B. : This Course CC– 7 [Theoretical paper] divided into three (3) parts as History and
Development of Indian Theatre, History and Development of Asian Theatre and History and
Development of Western Theatre.

1. Part – I :History and Development of Indian Theatre (From ancient to modern.) : 20

+ 5 = 25 marks.
{Classical Indian Drama – Bhas, Ashvaghosh, Shudrak, Kalidas, Bhavabhuti, Abhinavgupta,
Mammata, Dhananjay. Traditional and Folk Theatre: - Tamasha, Nautanki, Yatra, Bidesia,
Kirtania, ANkiaNatya, Macha, Naacha, Sang, Nakal, PrahladNatak, Ramleela, Rasleela,
Yakshgana, Kudiyattam, Ramnatam, Krishnattam, Bhagwat Mela, Sangeet Natak, Parsi
Theatre, Hindi Theatre, Marathi Theatre, Bengali Theatre, Kannad Theatre. National School
of Drama, Sangeet NatakAkademi, Habib Tanvir, Ebrahim Alkazi, Vijaya Mehta, B.V.
Karant, Bansi Kaul, Ratan Thiyam, etc.}.

2. Part – II :History and Development of Asian Theatre (From Ancient to

Modern) : 20 + 5 = 25 marks.
{Nepali Theatre, Bangladeshi Theatre, Pakistani Theatre, Indonesian Theatre, Chinese
Theatre, Japanese Theatre, Srilankan Theatre. Peeking Opera, Noh, Kabuki, etc.}.

3 Part – III :History and Development of Western Theatre (From Ancient to Modern) :
20 + 5 = 25 marks.

{{19th CENTURY; REALISM – A. Dumas, Henrik Ibsen etc., NATURALISM – Emile Zola,
NEO – ROMANTICISM and SYMBOLISM – M. Maeterlinck, G. Hauptmann etc., Play of
the SUB – CONSCIOUS -- A. Strindberg, Oscar Wild etc., 20th CENTURY; G. B. Shaw,
Galsworthy, J. M. Synge, Sean O’ Casey, POETIC DRAMA – T. S. Eliot, F. G. Lorca,
ITALY – L. Pirandello, RUSSIA – M. Gorki, A. P. Chekhov, EXPRESSIONISM – George
Kaiser, Earnest Toller, Elmer Rice, EPIC THEATRE – Bertolt Brecht., EXISTENTIALISM

Page 76 of 109
– J. P. Sartre, A. Camus, Eugene O’ Neill, Tennessee Williams, Arthur Miller, ABSURD
PLAYS – Samuel Becket, Eugene Ionesco, Edward Albee etc.}.
19th CENTURY; REALISM – A. Dumas, Henrik Ibsen etc., NATURALISM – Emile Zola,
NEO – ROMANTICISM and SYMBOLISM – M. Maeterlinck, G. Hauptmann etc., Play of
the SUB – CONSCIOUS -- A. Strindberg, Oscar Wild etc., 20th CENTURY; G. B. Shaw,
Galsworthy, J. M. Synge, Sean O’ Casey, POETIC DRAMA – T. S. Eliot, F. G. Lorca,
ITALY – L. Pirandello, RUSSIA – M. Gorki, A. P. Chekhov, EXPRESSIONISM – George
Kaiser, Earnest Toller, Elmer Rice, EPIC THEATRE – Bertolt Brecht., EXISTENTIALISM
– J. P. Sartre, A. Camus, Eugene O’ Neill, Tennessee Williams, Arthur Miller, ABSURD
PLAYS – Samuel Becket, Eugene Ionesco, Edward Albee etc.}.

Page 77 of 109
4th Semester : Full Marks : 225 ( 180 + 45 ) ---> Credit Point : 18 Credits.

Course : CC –8 (Practical) : Marks 75 (60+15) ---> Credit Point : 6 Credits.

• Make – Up & Costume: with reference to Drama and stage performance.

*N.B. : This Course CC – 8 [Practical paper] divided into two(2) parts as Make – Up and
Costume.
1. Part – I : Make – Up : with reference to Drama and stage performance :
32 + 8 = 40marks.
{Elementary knowledge of Make – Up, Purpose of Make – Up, Study of Facial anatomy ;
Shapes of head, face, facial proportions, Kinds of skin, hair, nose, eyes lips etc., Make – Up
materials and their uses, method of handling them, Knowledge of Colours and paints, Colour
work and Crepe work, Different types of make – up; Straight make–up, Middle–age, Old–
age, Character make–up, Corrective make–up, Use of crepe hair, wigs, different types of
beards and moustaches, Study of different types of classical dance and drama form in respect
of make – up, Practice of stylized make–up, make–up for mime and pantomime etc.}.

2. Part – II : Costume ; with reference to Drama and stage performance :

28 + 7 = 35marks.
{Elementary knowledge of Costume, Purpose of Costume design, Planning of Costume etc.,
Approach to Costume design; Visualization, interpretation, situation, characters and dramatic
elements in terms of line, colour, mass, texture etc., Referring to historical visual material for
certain kind of plays, Designing simple costume materials, Costumes and ornaments making,
Study of historical, traditional and mythological costumes, Innovative costume etc.}.

Course : CC – 9 (Practical) : Marks 75 (60+15) ---> Credit Point : 6 Credits.

• Scenography (Set – design, painting &making)with reference to Drama and stage

performance.

*N.B. : This Course CC – 9 [Practical paper] divided into two(2) parts as Set –
design and Painting & making].

1. Part – I : Set – design : with reference to Drama and stage performance :

32 + 8 = 40 marks.
2. Part–II : Painting & making : with reference to Drama and stage
performance : 28 + 7 = 35 marks.
{Perspective, sketch, ground - plan and elevation with special reference to theatrical
production and with explanatory notes for using style and colour(s), Knowledge about Set –
stage front, depth, height, wings, curtains, door panel, window, window with frame, arch,
pillar, steps, blocks, ground plan of stage etc., Set – Design of Ancient Indian stage, Jatra,
Arena etc., Noh and Kabuki stage, Western and Modern Indian stage, Proscenium stage etc.,
Tagore’s concepts for set – design, Scenes for design from dramas same as play analysis and
others; Senses of colour of costume, Light and mood & colour relations are required for
painting and making.}.

Page 78 of 109
Course : CC–10 (Theoretical) :Marks 75 (60+ 15) ---> Credit Point : 6 Credits.

• Tagorien Aesthetics

*N.B. : This Course CC – 10 [Theoretical paper] divided into three (3) parts as
Rabindranath Tagore, SahiterPathe, Rabindranath Tagore, Sahitya and
Rabindranath Tagore, Sangeet Chinta.

1. Part – I : Rabindranath Tagore, SahiterPathe : 20 + 05 = 25 marks.

{Origin and development of Ancient Indian Classical / Sanskrit Theatre;Oriental styles,
different kinds of theatre – stages as per Natyasastra, Theatrical conventions, Contributions of
the ancient Indian dramaturgists to Sanskrit classical theatre with Special reference to
Bharata, Dhananjaya, Abhinava Gupta, Sagarnandin, Saradatanaya,Ramchandra –
Gunachandra, BiswanathKaviraja etc., Various types of Rupka and Up – Rupakas
(Texts)with Special reference toAshwaghosha, Kalidasa, Sudrak, Bhasa, Bhavabhuti,
VishakhaDutta,Banabhatta , Shreeharsha , Rajsekhara, Krishna Mishraetc.,Brief knowledge
about Chinese & Japanese Theatre with Special reference to Kabuki, Noh, Peking opera etc.}.

2. Part – II : Rabindranath Tagore, Sahitya : 20 + 05 = 25 marks.

{Origin and development of Traditional and Folk theatre of India, Different kinds of forms
and conventions, with special reference to different parts of Bengal, Maharashtra, Guajarati,
Bihar, Uttar & Madhya Pradesh,Assam, Orissa, Kerala, Karnataka, Rajasthan, Punjab,
Haryana, Himachal Pradesh, Tamilnadu and rest of the part of India ; with special reference
to Chau, Aalkup, Gambhira, different kinds of Jatra, Bolans, Putulnach, Kavigaan, Jhumur,
Tarja, DhamerGaan, Bishaharipala, Tamasha, Dashsvatar, Gondhal, Bhawayi, Videsiya,
Vidapat, Kirtaniya, Ramlila, Raslila, Nautanki, Pandavani, Mach, Nacha, Ankiyanat,
Ojapali, Aapioja, Kushan Gaan, Putlanach, Bhawaia, Kharapuran, Palhadnatakam,
Patuyajatra, Hanuyajatra, Dashkathiya Pala, Yakshagana, Kudiyattyam, Mudiyettu,
Krishnattyam, Khyal, Rashdhari, Nakal, Swang, Kaviyala, Terukuttu etc., Different kinds of
stages etc.}.

3. Part – III : Rabindranath Tagore, Sangeet Chinta : 20 + 05 = 25 marks.

{Origin and development of Modern theatre other than Bengali theatre;Marathi theatre,
Guajarati theatre, Hindi theatre, South Indian theatre, theatre from Manipur, theatre from
Assam, theatre from Orissa etc. with special reference to Vijoy Tendulkar, Mahesh
Elkunchwar, Girish Karnad, Panikkar, B.V. Karanth, Mohan Rakesh, PrithvirajKapur,
Kanahiyalal, Nemi Chandra Jain, Habib Tanveer, Ibrahim Alkazi etc., different kinds of
theatrical conventions, Different kinds of Play and Productions, Brief knowledge about
Contemporary Theatre,with Special reference to drama and stages etc.}.

Page 79 of 109
5th Semester : Full Marks : 150 (120 + 30) ---> Credit Point : 12 Credits.

Course : CC – 11 (Practical) : Marks 75 (60+ 15) ---> Credit Point : 6 Credits.

• Script - Writing in Different Media.

{With special reference to Premise, Theme,Type ; Plot – Structure, Elements ; Division of

action –Act, Scene, Sequence etc., Pancha – sandhi, Pancha – avastha, Pancha –
arthaprakritietc., Character – Protagonist, Antagonist, Pivotal character, Allied – Agent (s),
Background –Agent (s), Character – dimensions, Will, Conflict,Crisis etc., Growth ;
Dialogue, Song / music, Thought, Rasa, Emotion, Acting etc.}.
{ * N . B. : Assessment of Class – Works to be made jointly by the teachers concerned }.

#Performance system / methods :

Each student is required to submit the Script ( prepared on the particular Text / Subject /
Theme or Premise / Context / Pieces etc.which will be provided / selected by the Dept. 10
to 15 minutes before the Examination for specific media ) within the stipulated time given
by the Dept. And student is also required to use all the relevant elements asmentioned in
the Course – 2, Part – ii of 1st Semester.

Course : CC– 12 (Theoretical) :Marks 75 (60+ 15) ---> Credit Point : 6 Credits.

• History and Development of Bengali Theatre (other than Tagore – theatre) : with
reference to stage and drama.

{A short history of the origin and development of Bengali stage with special reference to :
Early English–theatre in Bengal; Old & New Play House,Chowrangee Theatre, Sans Souci
Theatre etc., Bengali Theatre, Belgachhia Theatre, National, Hindu National & Great
National Theatre, Jorasanko Theatre, Star Theatre, Natya Mandir &Navanatya Mandir,
Manamohan Theatre, Emareld Theatre., Art Theatre, Classic Theatre, Rangmahal, Minarva
Theatre, SreeRangam, Biswarupa etc.; with special reference to the contribution of Lebedeff,
Ram Narayan, Madhusudan Dutta, Dinabandhu Mitra, Upendra Nath Das, Girish Chandra
Ghosh, AmritalalBasu, D.L.Ray ,Kshirad Prasad Vidyavinod, Mukunda Dash , Moti Ray,
ManmathaRay,Brojen Dey, Sachin Sengupta, Bijan Bhattacharya, TulshiLahiri, Utpal Dutta,
Badal Sarkar, DhananjoyBairagi , Mohit Chattapadhyay,Manoj Mitra etc.; with special
reference to the contribution of Amarendra Nath Dutta, Sisir Kumar Bhaduri, Satu Sen,
Ahindra Chowdhury, Debnarayan Gupta, Sambhu Mitra, Amar Ghosh, Ajitesh
Bandyopadhyay, etc., And short history of the Group Theatre movement of Bengal etc.} .

Page 80 of 109
6thSemester : Full Marks : 150 (120 + 30) ---> Credit Point : 12 Credits.

Course : CC –13 (Practical) Marks 75 (60 + 15) ---> Credit Point : 8 Credits.

• Stage – Lighting and Sound & Background Music.

*N.B. : This Course CC – 13 [Practical paper] divided into two(2) parts as follows –
Stage – Lighting And Sound & Background Music.

1. Part – I : Stage – Lighting : with reference to drama and stage performance :

32 + 8 = 40 marks.
{Basic knowledge of stage – lighting , Origin and development of stage - lighting , Function
of stage – lighting ; Illumination, Realistic effect, Plastic expression, Psychological
expression etc., Art of stage – lighting ; Dominant, Secondary, Rim and Fill in lighting etc.,
Different classes of drama and lighting effect etc., Function of Control – board with
dimmers, flood lights, Proscenium length, spot lights, acting area lantern, different types of
lights attachments and lamps, preparation of light on stage etc., Special lights & its effects on
dance and other media, Planning, Schematic Cue – sheet and executions of stage – lighting
etc.}.

2.Part – II : Sound and Background Music with reference to Drama and stage
performance : 28 + 7 = 35 marks.
{Basic principals and knowledge about Sound & Sound – Effects; difference between regular
sound waves (voice & music )and scattered sound waves ( noise ), Elementary knowledge
about Acoustics ; acoustics of stage, auditorium and other places of performing arts., Basic
principles and elementary knowledge about the Sound systems & its uses; sound machines –
acquaintance with amplification system, microphones, loud speaker, record player &
recorder. Elementary knowledge on creating the various types of sound–effects and
producing practical sound effects etc., Basic knowledge on Background Music in different
media, preparing & using process of Cue – sheets for performing arts., practice with a
production problem – preparing sound effect and Cue – sheets, recording reproduction;
mechanical practice – mixing sound effects from two different or multiple sources of
reproduction etc.}.

➢ Special Remarks regarding the Examination of Course CC – 13 [Practical paper] :

Examinations of Part – I and Part – II will be held separately.

Course : CC –14(Theoretical) Marks 75 (60 + 15) ---> Credit Point : 6 Credits.

• History and Developmentof Tagore– theatre And History and Development of

Non–Proscenium Theatre (other than traditional and folk forms).
*N.B. : This Course CC – 14 [Theoretical paper] divided into two (2) parts as
History and Development of Tagore – theatre And History and Development of
Non–Proscenium Theatre (other thantraditionaland folkforms).
1. Part – I: History and Development of Tagore – theatre : with special reference
to Tagore’s plays and its productions : 40 ( 32 + 8 ) marks.
{A brief history about the Dramatic activities of Tagore’s house &Jorasanko theatre (Pre –
Rabindranath Tagore), Tagore’s own initiative, Tagore’s own essays on his plays, Tagore’s

Page 81 of 109
 contributions to Bengali professional theatre, Classification of Tagore’s plays, Play -
productions at Jorasanko and Shantiniketan etc.}.

*Reference texts : I. Play from : up to 1896 ----- One play.

II. ,, ,, : 1897 to 1907 ----- One play.
III. ,, ,, : 1908 to 1923 ----- One play.
IV. ,, ,, : 1924 to 1935 ----- One play.
V. ,, ,, : 1936 to 1939 ----- One play.

**N. B. : Texts are to be selected by the Department from time to time / year to year And
Texts For Non – Bengali students ( instead of Bengali texts ) are to be selected
by the Dept. from time to time .

2. Part – II : History and Development of Non – Proscenium Theatre(other than

traditionaland folk forms) : 28 + 7 = 35 marks.

{Origin and development of Different kinds of Non – Proscenium theatreforms and

conventions in India and abroad with reference to Poor theatre, People’s theatre, Proletariat
theatre, Epic theatre, Agitprops, Political theatre, Theatre of the oppressed, Forum theatre,
Image theatre, Theatre laboratory, Bread and Puppet theatre, Street theatre, Environmental
theatre, Poster drama, awareness theatre, Journey theatre, Leaving and alternative leaving
theatre, Third theatre, IPTA movement in India, Theatre movement in Seventies in Bengal
etc.; with Special reference to drama and place of performances etc.,with very special
reference to some renowned theatre activists; Romain Rolland, Erwin Piscator, Bertolt
Brecht, Dario Fo, FrankaRame, Augusto Boal, Jerzy Grotowski, Peter Schumann, Peter
Brook, Mulukraj Anand, P.C.Joshi, UtpalDutt, Bijan Bhattacharya, Sambhu Mitra, Badal
Sircar, Safdar Hasmi And Non – Proscenium theatre movement in seventies by the Group
theaters’ of Bengal etc.}.

Page 82 of 109
 Proposed Marks Division for 3 Years B.Mus. Honours.Course
(Choice Based Credit System).
Dept.: Rabindra–Sangit, Dance &Drama,Sangit–Bhavana, V.B.
Subject : Drama and Theatre Arts.
FOR GENERIC ELECTIVE / INTERDISCIPLINARY COURSE (GE).

Total Credit Points : 24Credits. Total Marks of the Course : 300.

➢ 20% Marks will be treated as Internal Assessment in each Course.

• Semester : I = 75 Marks
Course Numbers Marks Credit Point
GEC– 1 (Practical) 60 + 15 = 75 6
Total = 6
• Semester : II = 75 Marks
Course Numbers Marks Credit Point
GEC – 2 (Practical) 60 + 15 = 75 6
Total = 6
• Semester : III = 75 Marks
Course Numbers Marks Credit Point
GEC– 3 (Practical) 60 + 15 = 75 6
Total = 6
• Semester : IV = 75 Marks
Course Numbers Marks Credit Point
GEC– 4(Theoretical) 60 + 15 = 75 6
Total = 24

Page 83 of 109
 SYLLABUS FOR B.MUS.CHOICE BASED CREDIT SYSTEM.
(3 YEARS COURSE)
Subject : Drama and Theatre Arts.
==================================================================
=
FOR GENERIC ELECTIVE / INTERDISCIPLINARY COURSE (GE).
** N.B. : Total Credit Points : 24 Credits.
Total Marksof the Course : i) Practical Course / Papers : 225 Marks.
ii) Theoretical Course / Papers : 75 Marks.
Total : 300 Marks.
➢ 20% Marks will be treated as Internal Assessment in each Course.
==================================================================
=
PROPOSED AREAS OF STUDIES TEORETICAL AND PRACTICAL COURSES / PAPERS.

1st Semester: Full Marks : 75 ( 60 + 15 ) ---> Credit Point : 6Credits.

Course : GEC – 1 (Practical ) : Marks 75 (60 + 15) ---> Credit Point : 6 Credits.
• Voice and Elocution And Body Preparation, Mime, Emotion & Expression and
Improvisation : 75 ( 60 + 15 ).

2ndSemester : Full Marks : 75 ( 60 + 15 ) --->Credit Point : 6 Credits.

Course : GEC – 2 ( Practical ) : Marks 75 ( 60 + 15 ) --->Credit Point : 6 Credits.
• Acting : Verse(Tagore and Non–Tagore) for Proscenium stage : with actor’s Note –
book : 75 ( 60 + 15 ) marks.

3rd Semester : Full Marks : 75 ( 60 + 15 ) ---> Credit Point : 6 Credits.

Course : GEC – 3 ( Practical) : Marks 75 ( 60 + 15 ) --->Credit Point : 6 Credits.
• Acting : Non–Verse (Tagore and Non–Tagore) for Proscenium stage : with actor’s
Note – book : 75 ( 60 + 15 ) marks.

4th Semester : Full Marks : 75 ( 60 + 15 ) ---> Credit Point : 6 Credits.

Course : GEC– 4 (Theoretical) :Marks 75 ( 60 + 15 ) ---> Credit Point : 6 Credits.
• History and Development of Western and Oriental Theatre ; origin and development
from Ancient period to 20th century : with reference to stage & drama. : 100 (80 + 20)
marks.

Page 84 of 109
 SYLLABUS FOR B.MUS.CHOICE BASED CREDIT SYSTEM.
(3 YEARS COURSE)
Subject : Drama and Theatre Arts.
==================================================================
=
FOR GENERIC ELECTIVE / INTERDISCIPLINARY COURSE (GEC).
** N.B. : Total Credit Points : 24 Credits.
Total Marksof the Course : i) Practical Course / Papers : 225 Marks.
ii) Theoretical Course / Papers : 75 Marks.
Total : 300 Marks.
➢ 20% Marks will be treated as Internal Assessment in each Course.
==================================================================
=
PROPOSED AREAS OF STUDIES TEORETICAL AND PRACTICAL COURSES / PAPERS.

1st Semester: Full Marks : 75 ( 60 + 15 ) ---> Credit Point : 6Credits.

Course : GE – 1 (Practical ) : Marks 75 ( 60 + 15 ) ---> Credit Point : 6 Credits.
• Voice and Elocution : 75 ( 60 + 15 ) marks.
*N.B. : This Course GE – 1 [Practical paper] divided into two(2) Major Groups as
follows –
1.Group – I : Voice and Elocution : 32 + 8 = 40 marks.
2.Group – II:BodyPreparation,Mime,Emotion& Expression and Improvisation
: 30 + 05 = 35 marks.
*N.B. : The above mentioned Group – I of said Course GE – 1 [Practical paper] also
divided into two(2) parts as Voice and Elocution.
1.Group – I : Voice and Elocution : 32 + 8 = 40marks.
1. Part – i :voice : 16 + 04 = 20marks.
{Fundamentals of voice production and speech mechanism; voice registration; resonance,
volume, pitch, tone etc., kinds & methods of breathings, requirement of a stage – voice;
volume,speech defects and their corrective measures etc. Introductory breathing exercises,
voice in different moods; noise, musical voice, whispering, weeping, crying, laughing etc.}.
**Sub – Text : Using all the above mentioned elements in the given speech (Pieces to be
selected by the Dept. from time to time ).

2. Part – ii :Elocution( Sight – Reading and Recitation ) : 16 + 04 = 20marks.

{Pronunciation and Enunciation, Pronunciation of vowels and consonants; accent, pause,
rhythm, prosody; syllable, matra, parva, chhanda etc., Dialect , Verse & Non–Verse etc.}.

**Sub –Text : Using all the above mentioned elements in the given speech (Pieces to be
selected by the Dept. from time to time ).
# Reference Text Books for Elocution as follows :
1. For Sight – Reading ( to be selected ) :
I. Rabindranath Tagore :Kalantar/ Sanchay, Galpaguchha.
II. Bankim chandraChattapadhyay :Kapalkundala / Durgesh Nandini.
III. D. L. Ray :Chandragupta/ KshiradprasadVidyavinod : Nara Narayan.
IV. BuddhadevBasu :TapasweeTaranginee.
V. SambhuMitra :ChandBaniker Pala.

2. Recitation ( to be selected & pieces to be memorized ) :

I. Madhusudan Dutta :MeghnadBadh Kavya ; canto – IV

Page 85 of 109
 II. Rabindranath Tagore :Chitra , Katha ,Kahinee
III. JibananandaDash :Srestha Kavita

# N .B . : Pieces for Non – Bengali students (instead of Bengali texts) are to be selected by
the Dept. from time to time.

***N .B . : Each student is required to present the passages, pieces and other items of Voice
& Elocution which will be provided by the
Dept.

2.Group – II:BodyPreparation,Mime,Emotion& Expression and Improvisation

: 30 + 05 = 35Marks.
*N.B. : The above mentioned Group – II of said Course GE – 1 [Practical paper]
also divided into four (4) parts as Body Preparation ,Mime , Emotion
& Expressionand Improvisation.
1.Part – i :Body Preparation : {General knowledge about Human Anatomy &
Physiology, Physical Exercises (with & without music) -- different parts of the body; hands,
waist, shoulder, neck, legs etc., movements, relaxation, yogasana etc.}.
2.Part – ii :Mime : {Origin and its development, stage acting and mime; the art of
mime; motion, fluidity, grace, gesture, expression, composition, creation of illusion, solo
and group mime; sketch buildup, make – up and costume of mime and pantomime etc.} .
3. Part – iii :Emotion& Expression : {General knowledge about face – muscles,
Knowledge about Emotion; Rasa & different types of Bhavas And total Expression,
Exercises of face – muscles, eye-lid, eye-brow, eye-ball, chine etc., Gesture of head, neck,
hands, legs etc., Emotion & Bodily expression, Concentration, Sentiment – its types;
object, person, collective, self etc., reflex & instinct, nature of feeling, sensation & feeling,
mood, temperament, disposition, passion etc.}.
4. Part – iv :Improvisation : {Concentration exercises, exercises of sense, exercises for
developing power of association, exercises for Improvisation; details of –– who are you / the
are you, why are you,where are you,what are you, when are you etc., Improvisation with
voice and without voice etc.}.
**Sub –Text : Using all the above mentioned elements in the given items & Pieces (to be
selected by the Dept. from time to tim).

***N. B . : Each student is required to present the pieces and other items of Body preparation
& exercises, mime & pantomime, emotions &expressions,movement etc.,
Improvisation ; with & without voice, sketches etc. which will be provided by
the Dept.

➢ Special Remarks regarding the Examination of Course GE – 1 [Practical paper]:

Examinations of Group – I and Group – II will be held separately.

Page 86 of 109
2ndSemester : Full Marks : 75 ( 60+ 15 ) --->Credit Point : 6 Credits.
Course : GEC – 2 ( Practical ) : Marks 75 ( 60+ 15 ) --->Credit Point : 6 Credits.
• Acting : Verse(Tagore and Non–Tagore) for Proscenium stage : with actor’s Note –
book : 75 ( 60+ 15 ) marks.
*N.B. : This CourseGE – 2[Practical paper] divided into two(2) parts as follows –
Performance in two short scenes / pieces And Prepare the Actor’s Note –
Book.
[with reference to Character; protagonist–antagonist–pivotal character–allied agents–
background agents, Character – dimensions, Will, Conflict, Growth, Dialogue, Song,
Emotion, Rasa, Different types of acting, Costume & Make – up, Play – analysis etc.].

{ * N . B. : Assessment of Class – Works to be made jointly by the teachers concerned }.

[ 2 Scenes /pieces one from Tagore andone from Non – Tagore’s Verseplays are to be
selected by the dept. from time to time or chosen by the student with the approval of the
dept.
# Practical :i ) Stage Performances of two short scenes / pieces = 40 marks / 20 + 20 marks.
ii ) Actor’s Note – Book [ any one of above texts] = 20 marks.
Total = 60 marks.

# i )Performance of two short scene / pieces : The students required to participate in two
short scenes / pieces which will be provided / selected by the dept. 10 to 12 days before
the final exams.) of 10 to 15 minutes duration directed by himself / herself.

# ii )Actor’s Note – Book : Each student is required to submit an Actor’s Note – Book ,
which should contain a detailed analysis of the roles he / she has played during the year.
this Note – book should contain the sub-text, the motivation and the movements of the
character relating them to the whole production.

3rd Semester : Full Marks : 75 ( 60 + 15 ) ---> Credit Point : 6 Credits.

Course : GEC – 3 ( Practical) : Marks 75 ( 60 + 15 ) --->Credit Point : 6 Credits.
• Acting : Non–Verse(Tagore and Non–Tagore)for Proscenium stage : with actor’s
Note-book : 75 ( 60 + 15 ) marks.
*N.B. : This CourseGE– 3[Practical paper] divided into two(2) parts as follows –
Performance in two short scenes / pieces And Prepare the Actor’s Note –
Book.
[with reference to Character; protagonist – antagonist – pivotal character – allied agents –
background agents, Character – dimensions, Will, Conflict, Growth, Dialogue, Song,
Emotion, Rasa, Different types of acting, Costume &Make – up, Play – analysis etc.].
{ * N . B. : Assessment of Class – Works to be made jointly by the teachers concerned}.

[ 2 Scenes /pieces one from Tagore and one from Non – Tagore’s Non –Verseplays are to be
selected by the dept. from time to time or chosen by the student with the approval of the
dept.].
# Practical :i ) Stage Performances of two short scenes / pieces = 40 marks / 20 + 20 marks.
ii ) Actor’s Note – Book [ any one of above text ] = 20 marks.
Total =60 marks.

Page 87 of 109
# i )Performance of two short scene / pieces : The students required to participate in two
short scenes /pieces which will be provided / selected by the dept. 10 to 12 days before
the final exams.) of 10 to 15 minutes duration directed by himself / herself.

# ii )Actor’s Note – Book : Each student is required to submit an Actor’s Note – Book ,
which should contain a detailed analysis of the roles he / she has played during the
year. this Note – book should contain the sub-text, the motivation and the movements
of the character relating them to the whole production.

4th Semester : Full Marks : 75 ( 60 + 15 ) ---> Credit Point : 6 Credits.

Course : GE– 4 (Theoretical) :Marks 75 ( 60 + 15 ) ---> Credit Point : 6 Credits.
• History and Development of Western and Oriental theatre; origin and development
from Ancientperiod to 20thcentury : with reference to stage & drama 75 ( 60 + 15 )
marks.

*N.B. : This Course GE – 4 [Theoretical paper] divided into three (3) parts as History
and Development of Western Theatre, History and Development Oriental
Theatre; Ancient Indian (Classical) Sanskrit Theatre,Chinese and Japanese Theatre
And History and Development of Bengali theatre.

1. Part – I : History and Development of Western Theatre

[History of Western Theatre; from ancient Greek to 20th Century (GREEK – Aeschylus,
Sophocles, Euripides, Aristophanes, Menander etc., ROMAN – Seneca, Plautus, Terence
etc., MEDIEVAL ERA – Mystery, Miracle, Morality and Liturgical plays,
RENAISSANCE; Italy and Spain – Lope de Vega and Calderon, Elizabethan – Marlow,
Shakespeare etc., France – Corneille , Racine , Moliere etc., RESTORATION and
ENGLAND – Dryden, Congreve etc., 18th CENTURY; ENGLAND – Goldsmith, Sheridan
etc., 19th CENTURY; REALISM – A. Dumas, Henrik Ibsen etc., NATURALISM – Emile
Zola, NEO – ROMANTICISM & SYMBOLISM – M . Maeterlinck , G. Hauptmann etc.,
Play of the SUB-CONSCIOUS -- A. Strindberg, Oscar Wild etc. 20th CENTURY; G. B.
Shaw, Galsworthy, J. M. Synge, Sean O’ Casey, POETIC DRAMA – T . S . Eliot, F. G.
Lorca, ITALY – L. Pirandello, RUSSIA – Maxim Gorki, A. P. Chekhov, EXPRESSIONISM
– George Kaiser, Earnest Toller, Elmer Rice, EPIC THEATRE – Bertolt Brecht.
EXISTENTIALISM – J. P. Sartre, A . Camus, Eugene O’ Neill, Tennessee Williams, Arthur
Miller, ABSURD PLAYS – Samuel Becket, Eugene Ionesco, Edward Albee etc.],

2.Part – II : History and Development ofOriental Theatre; Ancient Indian Classical

/Sanskrit) Theatre, Chinese and Japanese theatre :{Origin and development of
Ancient Indian Classical / Sanskrit Theatre;Oriental styles, different kinds of theatre – stages
as per Natyasastra, Theatrical conventions, Contributions of the ancient Indian dramaturgists
to Sanskrit classical Theatre with Special reference to Bharata, Dhananjaya, Abhinava
Gupta, Sagarnandin, Saradatanaya,Ramchandra – Gunachandra, BiswanathKaviraja etc.,
Various types of Rupka and Up – Rupakas (Texts)with Special reference toAshwaghosha,
Kalidasa, Sudrak, Bhasa, Bhavabhuti, VishakhaDutta,Banabhatta , Shreeharsha ,
Rajsekhara, Krishna Mishra etc., Chinese & Japanese Theatre etc.}

3. Part – III : History and Development of Bengali Theatre:

[History of the origin and development of Bengali stage with special reference to : Early
English – Theatre in Bengal (Old & New Play House, Chowrangee Theatre , Sans Souci

Page 88 of 109
 Theatre etc., Bengali Theatre, Belgachhia Theatre, National, Hindu National & Great
National Theatre, Jorasanko Theatre, Star Theatre, Natya Mandir &Navanatya Mandir,
Manamohan Theatre, Emareld Theatre., Art Theatre, Classic Theatre, Rangmahal ,
MinarvaTheatre, SreeRangam, Biswarupa etc.; with special reference to the contribution of –
Lebedeff, Ram Narayan, Madhusudan Dutta, Dinabandhu Mitra, Upendra Nath, Girish
Chandra Ghosh, AmritalalBasu, D.L.Ray ,Kshirad Prasad Vidyavinod , Mukunda Dash ,
Moti Ray , Brojen Dey , Manmatha Ray ,Sachin Sengupta , Bijan Bhattacharya ,
TulshiLahiri , Utpal Dutta , Badal Sarkar , DhananjoyBairagi , Mohit Chattapadhyay , Manoj
Mitra etc.; with special reference to the contribution of Amarendranath Dutta, Sisir Kumar
Bhaduri, Satu Sen, Ahindra Chowdhury, Debnarayan Gupta, Sambhu Mitra, Amar Ghosh,
AjiteshBandyopadhyayetc., and short history of the Group Theatre movement of Bengal
etc.) And a brief history about the Dramatic activities of Tagore’s house &Jorasanko theatre
(Pre–Rabindranath Tagore), Tagore’s own initiative, Tagore’s own essays on his plays,
Tagore’s contributions to Bengali professional theatre, Classification of Tagore’s plays, Play
- productions at Jorasanko and Shantiniketan etc.

Page 89 of 109
 Proposed Marks Division for 3 Years B.Mus. Honours.Course
(Choice Based Credit System).
Dept.: Rabindra–Sangit, Dance &Drama,Sangit–Bhavana, V.B.
Subject : Drama and Theatre Arts.
For DESCIPLINE SPECIFIC ELECTIVE (DSE).

Total Credit Points : 24Credits. Total Marks of the Course : 400.

➢ 20% Marks will be treated as Internal Assessment in each Course.

• Semester : V = 200 Marks

Course Numbers Marks Credit Point
DSE– 1 (Practical) 75 ( 60 + 15 ) 6
DSE– 2 (Practical) 75 ( 60 + 15 ) 6
Total = 12
• Semester : VI = 200 Marks
Course Numbers Marks Credit Point
DSE– 3 (Practical) 75 ( 60 + 15 ) 6
DSE– 4(Theoretical) 75 ( 60 + 15 ) 6
Total = 12

**N.B. : The Subject Drama and Theatre Arts. as Core discipline will offer a range
of choice [as 4 Groups mentioned below] for the Discipline specific Elective (DSE)
And Students may be opted only one among the above said DSE Groups.

Page 90 of 109
 SYLLABUS FOR B.MUS.CHOICE BASED CREDIT SYSTEM.
(3 YEARS COURSE)
Subject : Drama and Theatre Arts.
==================================================================
For DESCIPLINE SPECIFIC ELECTIVE (DSE).
** N.B. : Total Credit Points : 24 Credits.
Total Marksof the Course : i) Practical Course / Papers : 225 Marks.
ii) Theoretical Course / Papers : 75 Marks.
Total : 300 marks.
➢ 20% Marks will be treated as Internal Assessment in each Course.
==================================================================
PROPOSED AREAS OF STUDIES TEORETICAL AND PRACTICAL COURSES / PAPERS.

5thSemester: Full Marks : 150 ( 60 + 15 X 2 ) ---> Credit Point : 12 Credits.

➢ Group – A :Direction [Demonstration / Performance on Proscenium
stage] : with Director’s Note – book :Total Credit Points : 12
Credits. / Total Marks of the Course : 150.
Course DSE – 1 (Practical) :--->CreditPoints : 6 Credits.
• Bengali Plays : Verse [Tagore and Non–Tagore].: 75 ( 60 + 15 ) marks.
Course DSE–2(Practical) :--->CreditPoints : 6 Credits.
• Bengali Plays : Non–Verse : [Tagore and Non–Tagore].:75 ( 60 + 15 ) marks.

➢ Group – B : Direction [Demonstration / Performance in Audio – Visual

Mediums]: with Director’s Note – book : Total Credit Points
: 12 Credits / Total Marks of the Course : 150.
Course DSE–1 (Practical) :--->CreditPoints : 6 Credits.
• Bengali Audio–Plays : Verse Plays (Tagore and Non –Tagore).: Credit
Points : 75 ( 60 + 15 ) marks.
Course DSE–2(Practical) :--->CreditPoints : 6 Credits.
• Audio–Plays : Non–Verse Plays (Original texts or May be adaptation or
dramatize in Bengali version from other language or source).
: 75 ( 60 + 15 ) marks.

➢ Group – C :Direction[Demonstration / Performance in Non – Proscenium

forms (Traditional and folk forms, Theatre of the oppressed;
Street theatre, Third theatre, Environmental theatre, Puppet
theatre or any Non – conventional theatre forms)] : with
Director’s Note – book : Total Credit Points : 12 Credits/Total Marks
of the Course : 150.
Course DSE–1(Practical) :--->CreditPoints : 6 Credits.
• Conventional Jatra of Bengal (Text from Pouranik, Mythological, Historical plays ). :
Credit Points :75 ( 60 + 15 ) marks.
Course DSE–2(Practical) :--->CreditPoints : 6 Credits.
• Modern Jatra of Bengal (Text from Historical,Sociological, Political plays etc.).: 75 (
60 + 15 ) marks.

➢ Group – D : Direction[Demonstration / Performance : Rabindra Natya] :

Total Credit Points : 12 Credits / Total Marks of the Course :
150.
Course DSE–1(Practical) :--->CreditPoints : 6 Credits.

Page 91 of 109
 • Musical plays [Geetinatya-s] of Tagore : 75 ( 60 + 15 ) marks.
Course DSE–2(Practical) :--->CreditPoints : 6 Credits.
• Tagore’s plays (Rabindra Natya other than Geetinatya& NrityaNatya).:75 ( 60 + 15 )
marks.

6thSemester: Full Marks : 150 ( 120 + 30 ) ---> Credit Point : 12 Credits.

➢ Group – A : Direction [Demonstration /Performance on Proscenium stage]
: with Director’s Note – book : Total Credit Points : Credits. /
Total Marks of the Course : 150.
Course : DSE – 3 (Practical ) : Marks 75 ( 60 + 15 ) ---> Credit Point : 6 Credits.
• Bengali Plays : Non–Verse : [Original texts or adaptation in Bengali version].: 75 ( 60
+ 15 ) marks.
Course : DSE – 4 (Theoretical) : Marks 75 ( 60 + 15 ) ---> Credit Point : 6 Credits.
• Theoretical Course : 75 ( 60 + 15 ) marks.

➢ Group – B : Direction [Demonstration / Performance in Audio – Visual

Mediums] : with Director’s Note – book : Total Credit Points
: 12 Credits / Total Marks of the Course : 150.
Course DSE–3 (Practical) : ---> Credit Point : 6 Credits.
• Tele – Play / Film making :75 ( 60 + 15 ) marks.
Course : DSE – 4 (Theoretical) : Marks 75 ( 60 + 15 ) ---> Credit Point : 6 Credits.
• Theoretical Course : 75 ( 60 + 15 ) marks.

➢ Group – C : Direction[Demonstration / Performance in Non – Proscenium

forms (Traditional and folk forms, Theatre of the oppressed;
Street theatre, Third theatre, Environmental theatre, Puppet
theatre or any Non – conventional theatre forms)] : with
Director’s Note – book : Total Credit Points : 12 Credits/ Total
Marks of the Course : 150.

Course DSE–3 (Practical) : ---> Credit Point : 6 Credits.

• Non – Proscenium forms :75 ( 60 + 15 ) marks.
Course : DSE – 4 (Theoretical) : Marks 75 ( 60 + 15 ) ---> Credit Point : 6 Credits.
• Theoretical Course : 75 ( 60 + 15 ) marks.

➢ Group – D : Direction[Demonstration / Performance] : Rabindra Natya :

Total Credit Points : 12 Credits / Total Marks of the Course :
150.
Course DSE–3 (Practical) : ---> Credit Point : 6 Credits.
• Dance – dramas [ Nritya Natya-s] of Tagore :75 ( 60 + 15 ) marks.
Course : DSE – 4 (Theoretical) : Marks 75 ( 60 + 15 ) ---> Credit Point : 6 Credits.
• Theoretical Course : 75 ( 60 + 15 ) marks.

Page 92 of 109
 SYLLABUS FOR B. MUS. CHOICE BASED CREDIT SYSTEM.
(3 YEARS COURSE)
Subject : Drama and Theatre Arts.
==================================================================
=
For DESCIPLINE SPECIFIC ELECTIVE (DSE).
** N.B. : Total Credit Points : 24 Credits.
Total Marksof the Course : i) Practical Course / Papers : 225 Marks.
ii) Theoretical Course / Papers : 75 Marks.
Total : 300 marks.
➢ 20% Marks will be treated as Internal Assessment in each Course.
==================================================================
=
PROPOSED AREAS OF STUDIES TEORETICAL AND PRACTICAL COURSES / PAPERS.

5thSemester: Full Marks : 150 ( 120 + 30 ) ---> Credit Point : 12 Credits.

➢ Group – A : Direction [Demonstration / Performance on Proscenium
stage] : with Director’s Note – book :Total Credit Points :
12 Credits. / Total Marks of the Course : 150.
Course DSE – 1 (Practical) :--->CreditPoints : 6 Credits.
• Bengali Plays : Verse [Tagore and Non–Tagore].: 75 ( 60 + 15 ) marks.

*N.B. : This Course DSE – 1 [Practical paper] divided into two(2) parts i.e. Performance in a
short scene / pieces And Prepare the Director ‘s Note – Book.
[with reference to Character ; protagonist–antagonist–pivotal character–allied agents–
background agents, Character–dimensions, Will, Conflict, Growth, Dialogue, Song,
Emotion, Rasa, Different types of acting, Costume & Make – up, Play – analysis etc., With
special reference to play-criticism, acting, music, sound, light, set – design, costume & make
–up etc.].
{ * N . B. : Assessment of Class – Works to be made jointly by the teachers concerned }.

[Scene /pieces from Tagore or Non – Tagore’s Verse plays to be selected by the Dept. from
time to time or chosen by the student with the approval of the Dept.].

# Practical :i ) Directing a short -- scenes / pieces = 40 marks .

ii ) Director’s Note – Book = 20 marks .
Total = 60 marks .
# i ) Directing a short -- scene / pieces : The students – director is required to direct the
selected short -- scene / pieces of 15 to 30 minutes duration with the students from the
Sangeet–Bhavana or other Bhavanas of the University. The script (short--scene/pieces)
of the production will be provided / selected by the Dept. or chosen by the student with
the approval of the Dept . 10 to 12 days before the Exams.).
# ii )Director’s Note – Book : Each student director is required to submit the Director’s
Note – Book ( production script ) of the short – scene / pieces ( with the prior
acceptance of the dept.) Directed by himself / herself and which he / she has
participated in any capacity . This Director’s note – book should contain his / her
interpretation of the given play , the style of production and detailed analysis of the
characters in addition to khanda, mandala, emotional values of the dialogues , set –
design & its ground – plan , properties & requisitions , light – scheme , sound

Page 93 of 109
&background music – scheme , plan of make – up &costume design etc. along with the
detail moves . This Director’s note – book is required to be submitted by the student in the
ExaminationHall before the Practical Exams.

Course DSE–2(Practical) :--->CreditPoints : 6 Credits.

• Bengali Plays : Non –Verse : [Tagore and Non –Tagore].:75 ( 60 + 15 ) marks.

*N.B. : This Course DSE – 2 [Practical paper] divided into two(2) parts i.e. Performance
in a short scene / pieces And Prepare the Director ‘s Note – Book.
[with reference to Character ; protagonist–antagonist–pivotal character–allied agents–
background agents, Character–dimensions, Will, Conflict, Growth, Dialogue, Song,
Emotion, Rasa, Different types of acting, Costume & Make – up, Play – analysis etc., With
special reference to play-criticism, acting, music, sound, light, set – design, costume & make
–up etc.].

{ * N . B. : Assessment of Class – Works to be made jointly by the teachers concerned }.

[Scene /pieces from Tagore or Non – Tagore’s Non – Verse plays to be selected by the Dept.
from time to time or chosen by the student with the approval of the Dept .].

# Practical :i ) Directing a short -- scene / pieces = 40 marks .

ii ) Director’s Note – Book = 20 marks .
Total = 60 marks .

# i ) Directing a short -- scene / pieces : The students – director is required to direct the
selected short -- scene / pieces of 15 to 30 minutes duration with the students from the
Sangeet–Bhavana or other Bhavanas of the University. The script (short--scene/pieces)
of the production will be provided / selected by the Dept. or chosen by the student with
the approval of the Dept. 10 to 12 days before the Exams.).

# ii )Director’s Note – Book : Each student director is required to submit the Director’s Note
– Book ( production script ) of the short – scene / pieces ( with the prior acceptance of
the dept.) Directed by himself / herself and which he / she has participated in any
capacity. This Director’s Note – book should contain his / her interpretation of the given
play, the style of production and detailed analysis of the characters in addition to
khanda, mandala, emotional values of the dialogues, set – design & its ground – plan,
properties and requisitions, light – scheme, sound & background music – scheme , plan
of make – up & costume design etc. along with the detail moves. This Director’s Note –
book is required to be submitted by the student in the Examination Hall before the
Practical Exams .
➢ Group – B : Direction [Demonstration / Performance in Audio – Visual
Mediums : with Director’s Note – book : Total Credit Points
: 12 Credits / Total Marks of the Course : 150.
Course DSE–1 (Practical) :--->CreditPoints : 6 Credits.
• Bengali Audio–Plays : Verse Plays (Tagore and Non –Tagore ): Credit Points
: 75 ( 60 + 15 ) marks.

*N.B. : This Course DSE – 1 [Practical paper] divided into two(2) parts i.e. Audio
Performance in a short scene / pieces And Prepare the Director ‘s Note – Book.
[with reference to Character; protagonist–antagonist–pivotal character–allied agents–
background agents, Character–dimensions, Will, Conflict, Growth, Dialogue, Song,

Page 94 of 109
Emotion, Rasa, Different types of acting, Costume & Make – up, Play – analysis etc., With
special reference to play-criticism, acting, music, sound and light, set – design, costume &
make –up etc. if required].
{ * N . B. : Assessment of Class – Works to be made jointly by the teachers concerned }.

[Scene /pieces from Tagore or Non – Tagore’s Verse plays to be selected by the Dept. from
time to time or chosen by the student with the approval of the Dept .].

# Practical :i ) Directing a short -- scene / pieces = 40 marks .

ii ) Director’s Note – Book = 20 marks .
Total = 60 marks .

# i ) Directing a short -- scene / pieces : The students – director is required to direct the
selected short -- scene / pieces of 15 to 30 minutes duration with the students from the
Sangeet–Bhavana or other Bhavanas of the University. The script (short--scene/pieces )
of the production will be provided / selected by the Dept. or chosen by the student with
the approval of the Dept. 10 to 12 days before the Exams.

# ii )Director’s Note – Book : Each student director is required to submit the Director’s Note
– Book ( production script ) of the short – scene / pieces ( with the prior acceptance of
the dept.) Directed by himself / herself and which he / she has participated in any
capacity . This Director’s note – book should contain his / her interpretation of the
given play , the style of production and detailed analysis of the characters in addition to
khanda, mandala, emotional values of the dialogues, Verbal notations, sound &
background music – scheme etc. This Director’s note – book is required to be submitted
by the student in the Examination Hall before the Practical Exams.

Course DSE–2(Practical) :--->CreditPoints : 6 Credits.

• Audio–Plays : Non–Verse Plays Original or May be adaptation or
dramatize in Bengali version from other language or source).
: 75 ( 60 + 15 ) marks.
*N.B. : This Course DSE – 2 [Practical paper] divided into two(2) parts i.e. Audio
Performance in a short scene / pieces And Prepare the Director ‘s Note –
Book.
[with reference to Character ; protagonist–antagonist–pivotal character–allied agents–
background agents, Character–dimensions, Will, Conflict, Growth, Dialogue, Song,
Emotion, Rasa, Different types of acting, Costume & Make – up, Play – analysis etc., With
special reference to play-criticism, acting, music, sound and light, set – design, costume &
make –up etc. if required].
{ * N . B. : Assessment of Class – Works to be made jointly by the teachers concerned }.

[Scene /pieces from Tagore or Non – Tagore’s Non –Verse plays to be selected by the Dept.
from time to time or chosen by the student with the approval of the Dept .].

# Practical :i ) Directing a short -- scene / pieces = 40 marks .

ii ) Director’s Note – Book = 20 marks .
Total = 80 marks .

# i ) Directing a short -- scene / pieces : The students – director is required to direct the
selected short -- scene / pieces of 15 to 30 minutes duration with the students from the

Page 95 of 109
 Sangeet–Bhavana or other Bhavanas of the University. The script (short--scene/pieces )
of the production will be provided / selected by the Dept. or chosen by the student with
the approval of the Dept. 10 to 12 days before the Exams.

# ii )Director’s Note – Book : Each student director is required to submit the Director’s Note
– Book ( production script ) of the short – scene / pieces ( with the prior acceptance of
the dept.) Directed by himself / herself and which he / she has participated in any
capacity . This Director’s note – book should contain his / her interpretation of the
given play , the style of production and detailed analysis of the characters in addition to
khanda, mandala, emotional values of the dialogues, Verbal notations, sound &
background music – scheme etc. This Director’s note – book is required to be submitted
by the student in the Examination Hall before the Practical Exams.

➢ Group – C : Direction[Demonstration / Performance in Non – Proscenium

forms (Traditional and folk forms, Theatre of the oppressed;
Street theatre,Third theatre, Environmental theatre, Puppet
theatre or any Non – conventional theatre forms)] : with Director’s
Note – book : Total Credit Points : 12 Credits/ Total Marks of the
Course : 150.

Course DSE–1(Practical) :--->CreditPoints : 6 Credits.

• Conventional Jatra of Bengal (Text from Pouranik, Mythological, Historical plays )
:Credit Points :75 ( 60 + 15 ) marks.
*N.B. : This Course DSE – 1 [Practical paper] divided into two(2) parts i.e. Non –
Proscenium Performance in a short scene / pieces And Prepare the Director ‘s
Note – Book.
[with reference to Character ; protagonist–antagonist–pivotal character–allied agents–
background agents, Character–dimensions, Will, Conflict, Growth, Dialogue, Song,
Emotion, Rasa, Different types of acting, Costume & Make – up, Play – analysis etc., With
special reference to play-criticism, acting, music, sound and light, set – design, costume &
make –up etc. if required].
{ * N . B. : Assessment of Class – Works to be made jointly by the teachers concerned }.

[Scene /pieces from Conventional Jatra of Bengal to be selected as mentioned above by the
Dept. from time to time or chosen by the student with the approval of the Dept .].

# Practical :i ) Directing a short -- scene / pieces = 40 marks .

ii ) Director’s Note – Book = 20 marks .
Total = 60 marks .

# i ) Directing a short -- scene / pieces : The students – director is required to direct the
selected short -- scene / pieces of 15 to 30 minutes duration with the students from the
Sangeet–Bhavana or other Bhavanas of the University. The script (short--scene/pieces)
of the production will be provided / selected by the Dept. or chosen by the student with
the approval of the Dept. 10 to 12 days before the Exams.

# ii )Director’s Note – Book : Each student director is required to submit the Director’s Note
– Book ( production script ) of the short – scene / pieces ( with the prior acceptance of
the dept.) Directed by himself / herself and which he / she has participated in any
capacity . This Director’s note – book should contain his / her interpretation of the

Page 96 of 109
given play , the style of production and detailed analysis of the characters in addition to
khanda, mandala, emotional values of the dialogues, Verbal notations, sound &
background music – scheme etc.and light, set – design, costume & make –up etc. if
required, This Director’s Note – book is required to be submitted by the student in the
Examination Hall before the Practical Exams.
Course DSE–2(Practical) :--->CreditPoints : 6 Credits.
• Modern Jatra of Bengal (Text from Historical,Sociological, Political plays etc.): 75 (
60 + 15 ) marks.
*N.B. : This Course DSE – 2 [Practical paper] divided into two(2) parts i.e. Non –
Proscenium Performance in a short scene / pieces And Prepare the Director ‘s
Note – Book.
[with reference to Character ; protagonist–antagonist–pivotal character–allied agents–
background agents, Character–dimensions, Will, Conflict, Growth, Dialogue, Song,
Emotion, Rasa, Different types of acting, Costume & Make – up, Play – analysis etc., With
special reference to play-criticism, acting, music, sound and light, set – design, costume &
make –up etc. if required].
* N. B.: Assessment of Class – Works to be made jointly by the teachers concerned}.

[Scene /pieces from Modern Jatra of Bengal to be selected as mentioned above by the Dept.
from time to time or chosen by the student with the approval of the Dept.].

# Practical :i ) Directing a short -- scene / pieces = 40 marks .

ii ) Director’s Note – Book = 20 marks .
Total = 60 marks .

# i ) Directing a short -- scene / pieces : The students – director is required to direct the
selected short -- scene / pieces of 15 to 30 minutes duration with the students from the
Sangeet–Bhavana or other Bhavanas of the University. The script (short--scene/pieces )
of the production will be provided / selected by the Dept. or chosen by the student with
the approval of the Dept. 10 to 12 days before the Exams.

# ii )Director’s Note – Book : Each student director is required to submit the Director’s Note
– Book ( production script ) of the short – scene / pieces ( with the prior acceptance of
the dept.) Directed by himself / herself and which he / she has participated in any
capacity . This Director’s note – book should contain his / her interpretation of the
given play , the style of production and detailed analysis of the characters in addition to
khanda, mandala, emotional values of the dialogues, Verbal notations, sound &
background music – scheme etc. and light, set – design, costume & make –up etc. if
required, This Director’s note – book is required to be submitted by the student in
the Examination Hall before the Practical Exams.

➢ Group – D :Direction[Demonstration / Performance : Rabindra Natya :

Total Credit Points : 12Credits / Total Marks of the Course :
150.
Course DSE–1 (Practical) :--->CreditPoints : 6 Credits.
• Musical plays [Geetinatya-s] of Tagore :75 ( 60 + 15 ) marks.
a. Songs of Geetinatya-s (excerpt from Balmiki Pratibha, KaalMrigaya, Mayer Khela),
Geetabhinaya, Songs related with acting etc.
b. Accompaniment of Geetinatya.
c. Stage décor : Planning and execution of one of the Geetinatya.

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 d. Acting with songs with reference to Dhananjay Bairagi, Thakurda, Surangama etc.

Course DSE–2 (Practical) :--->CreditPoints : 6 Credits.

• Tagore’s plays (Rabindra Natya other than Geetinatya&NrityaNatya) :75 ( 60 + 15 )
marks.

A. Direction and Acting :Excerpt from following plays.

a. Visarjan / Raja O Rani / Maltni.
b. Raja – Arupratan – Shyapmochan.
c. Phalguni / Saradotsaba.
d. Raktakarabi / Dakghar.
e. TasherDesh.
f. Hasyakoutuk, Vyangakoutuk.
g. Natir Puja / Chandalika.
h. Shishutirtha.
B. Critical appreciation of the Tagore’s plays.

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6thSemester: Full Marks : 150 ( 120 + 30 ) ---> Credit Point : 12 Credits.
➢ Group – A : Direction [Demonstration /Performance on Proscenium stage]
: with Director’s Note – book : Total Credit Points : Credits. /
Total Marks of the Course : 150.
Course : DSE – 3 (Practical ) : Marks 75 ( 60 + 15 ) ---> Credit Point : 6 Credits.
• Bengali Plays : Non – Verse : [ Original or adaptation in Bengali version). : 75 ( 60 +
15 ) marks.

*N.B. : This Course DSE – 3 [Practical paper] divided into two(2) parts i.e. Performance in a
short scene / pieces And Prepare the Director ‘s Note – Book.
[with reference to Character ; protagonist–antagonist–pivotal character–allied agents–
background agents, Character–dimensions, Will, Conflict, Growth, Dialogue, Song,
Emotion, Rasa, Different types of acting, Costume & Make – up, Play – analysis etc., With
special reference to play-criticism, acting, music, sound, light, set – design, costume & make
–up etc.].

{ * N . B. : Assessment of Class – Works to be made jointly by the teachers concerned }.

[Scene /pieces from Tagore or Non – Tagore’s Non –Verse plays to be selected by the Dept.
from time to time or chosen by the student with the approval of the Dept .].

# Practical :i ) Directing a short -- scene / pieces = 40 marks .

ii ) Director’s Note – Book = 20 marks .
Total = 60 marks .
# i ) Directing a short -- scene / pieces : The students – director is required to direct the
selected short -- scene / pieces of 15 to 30 minutes duration with the students from the
Sangeet–Bhavana or other Bhavanas of the University. The script (short--scene/pieces )
of the production will be provided / selected by the Dept. or chosen by the student with
the approval of the Dept . 10 to 12 days before the Exams.

# ii )Director’s Note – Book : Each student director is required to submit the Director’s
Note – Book ( production script ) of the short – scene / pieces ( with the prior
acceptance of the dept.) Directed by himself / herself and which he / she has
participated in any capacity . This Director’s note – book should contain his / her
interpretation of the given play , the style of production and detailed analysis of the
characters in addition to khanda, mandala, emotional values of the dialogues , set –
design & its ground – plan , properties & requisitions , light – scheme , sound
&background music – scheme , plan of make – up & costume design etc. along with
the detail moves . This Director’s Note – book is required to be submitted by the
student in the ExaminationHall before the Practical Exams .

Course : DSE – 4 (Theoretical) : Marks 75 ( 60 + 15 ) ---> Credit Point : 6 Credits.

• Theoretical Course : 75 ( 60 + 15 ) marks.
[Brief knowledge about Theory of Direction, Different kinds of methods, schooling,
Conventions etc.,Brief history of play productions of India & abroad, Fundamentals of
Direction with special reference to the contribution ofDuke of Saxe-Meiningen, Konstantin
Stanislavsky, Vladimir Nemirovich-Danchenko,David Belasco, Adolphe Appia, Gordon
Craig, VsevolodMeyerhold,EugeneVakhtangov, G. B. Shaw, Bertolt Brecht, Peter Brook,
Dario Fo, FrankaRame, Augusto Boal, Jerzy Grotowski,Girish Chandra Ghosh,

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AmarendraNathDatta,Sisir Kumar Bhaduri, UtpalDutt, Bijan Bhattacharya, Sambhu Mitra,
Badal Sircer, Ajitesh Bandyopadhyay, Safdar Hasmi etc. and Rabindra Nath Tagore., Brief
knowledge on Play –Criticism and appreciations, Brief knowledge on Proscenium –stage,
production designing etc.].

➢ Group – B : Direction [Demonstration / Performance in Audio – Visual

Mediums] : with Director’s Note – book : Total Credit Points
: 12 Credits / Total Marks of the Course : 150.
Course DSE–3 (Practical) : ---> Credit Point : 6 Credits.
• Tele–Play/ Film making : The Screen – plays may be Original or adaptation or
dramatized in Bengali version from other language or source) : 75 ( 60 + 15 ) marks
*N.B. : This Course DSE – 3 [Practical paper] divided into two(2) parts i.e. Performance of a
short scene / pieces in Audio – Visual Mediums And Prepare the Director ‘s Note –
Book cum Working script for shooting including shot divisions etc.
[with reference to Character ; protagonist–antagonist–pivotal character–allied agents–
background agents, Character–dimensions, Will, Conflict, Growth, Dialogue, Song,
Emotion, Rasa, Different types of acting, Costume & Make – up, Play – analysis etc., With
special reference to play-criticism, acting, music, sound, light, set – design, costume & make
–up etc., and Camera positions, shot divisions etc.].
{ * N . B. : Assessment of Class – Works to be made jointly by the teachers concerned }.

[Scene /pieces from Tagore or Non – Tagore’s Non –Verse plays to be selected by the Dept.
from time to time or chosen by the student with the approval of the Dept.].
# Practical :i ) Directing / making or taking a short -- scene / pieces = 40 marks .
ii ) Director’s Note – Book / Working script = 20 marks .
Total = 60 marks .
# i ) Directing a short -- scene / pieces : The students – director is required to direct or
making the selected short -- scene / pieces of 15 to 30 minutes duration with the
students from the Sangeet–Bhavana or other Bhavanas of the University. The script
(short--scene/pieces) of the production will be provided / selected by the Dept. or
chosen by the student with the approval of the Dept. 10 to 12 days before the Exams.

# ii ) Director’s Note – Book / Working script for shooting including shot divisions etc. :
Each student director is required to submit the Director’s Note – Book ( production script ) /
Working script for shooting including shot divisions etc. of the short – scene / pieces ( with
the prior acceptance of the dept.) Directed by himself / herself and which he / she has
participated in any capacity. This Director’s note – book should contain his / her
interpretation of the given play , the style of production and detailed analysis of the characters
in addition to khanda, mandala, emotional values of the dialogues, set – design & its
ground – plan, properties & requisitions, light – scheme , sound & background music –
scheme , plan of make – up & costume design etc. along with the detail moves . This
Director’s note – book is required to be submitted by the student in the Examination Hall
before the Practical Exams.

Course : DSE – 4 (Theoretical) : Marks 75 ( 60 + 15 ) ---> Credit Point : 6 Credits.

• Theoretical Course : 75 ( 60 + 15 ) marks.
[Brief knowledge about Theory of Direction, Differentkinds of methods, schooling,
Conventions etc., Brief history of Audio and audio – visual play productions of India and
abroad, Fundamentals of Direction, Brief knowledge about Audio and Tele &film medium,

Page 100 of 109

Brief knowledge about use and handling the Camera, Microphone and others apparatus
related to said media, Soundknowledge on its technological different accessories etc., Brief
knowledge about Play – Criticism and appreciations etc. A brief history of theatrical –
productions of All India Radio and its artiste & producer –directors etc.].

➢ Group – C : Direction[Demonstration / Performance in Non – Proscenium

forms (Traditional and folk forms, Theatre of the oppressed;
Street theatre, Third theatre, Environmental theatre, Puppet
theatre or any Non – conventional theatre forms)] : with Director’s
Note – book : Total Credit Points : 12 Credits/ Total Marks of the
Course : 150.
Course DSE–3 (Practical) : ---> Credit Point : 6 Credits.
• Non – Proscenium forms (Theatre of the oppressed; Street theatre, Environmental
theatre, Third theatre, Puppet theatre or any Non – conventional theatre forms): 75 (
60 + 15 ) marks.

*N.B. : This Course DSE – 3 [Practical paper] divided into two(2) parts i.e. Non –
Proscenium Performance in a short scene / pieces as mentioned above And
Prepare the Director ‘s Note – Book.
[with reference to Character ; protagonist–antagonist–pivotal character–allied agents–
background agents, Character–dimensions, Will, Conflict, Growth, Dialogue, Song,
Emotion, Rasa, Different types of acting, Costume & Make – up, Play – analysis etc., With
special reference to play-criticism, acting, music, sound and light, set – design, costume &
make –up etc. if required].
* N. B.: Assessment of Class – Works to be made jointly by the teachers concerned}.

[Scene /pieces from any Non – Proscenium formsto be selected as mentioned above by the
Dept. from time to time or chosen by the student with the approval of the Dept.].

# Practical :i ) Directing a short -- scene / pieces = 40 marks .

ii ) Director’s Note – Book = 20 marks .
Total = 60 marks .

# i ) Directing a short -- scene / pieces : The students – director is required to direct the
selected short -- scene / pieces of 15 to 30 minutes duration with the students from the
Sangeet–Bhavana or other Bhavanas of the University. The script (short--scene/pieces )
of the production will be provided / selected by the Dept. or chosen by the student with
the approval of the Dept. 10 to 12 days before the Exams.

# ii )Director’s Note – Book : Each student director is required to submit the Director’s Note
– Book ( production script ) of the short – scene / pieces ( with the prior acceptance of
the dept.) Directed by himself / herself and which he / she has participated in any
capacity . This Director’s note – book should contain his / her interpretation of the
given play , the style of production and detailed analysis of the characters in addition to
khanda, mandala, emotional values of the dialogues, Verbal notations, sound &
background music – scheme etc. and light, set – design, costume & make –up etc. if
required, This Director’s note – book is required to be submitted by the student in
the Examination Hall before the Practical Exams.

Page 101 of 109

Course : DSE – 4 (Theoretical) : Marks 75 ( 60 + 15 ) ---> Credit Point : 6 Credits.
• Theoretical Course: 75 ( 60 + 15 ) marks.
[Brief knowledge about Theory of Direction, Different kinds of methods, schooling,
Conventions etc., Brief history of play productions of India and abroad, Fundamentals of
Direction with special reference to the contribution ofBertolt Brecht, Peter
Brook,Dario Fo, FrankaRame, Augusto Boal, Jerzy Grotowski,MukundaDash,Moti Ray,
Manmatha Ray, Brojen Dey, Sachin Sengupta,UtpalDutt, Bijan Bhattacharya, Sambhu Mitra,
Ajitesh Bandyopadhyay, Badal Sircar,Amar Ghosh, Safdar Hasmi etc. and Rabindra Nath
Tagore., Brief knowledge on Play – Criticism and appreciations, Brief knowledge on
Proscenium –stage, production designing etc.].

➢ Group – D : Direction[Demonstration / Performance : Rabindra Natya :

Total Credit Points : 12 Credits / Total Marks of the Course :
150.
Course DSE–3 (Practical) : ---> Credit Point : 6 Credits.
• Dance – dramas [ Nritya Natya-s] of Tagore:75 ( 60 + 15 ) marks.
a. Excerpt from Nritya Natya-s;Chitrangada, Chandalika, Shyama.
b. Make –up and Costume of Nritya Natya.
c. Stage lighting: Planning and execution of one of the Nritya Natya.

Course : DSE – 4 (Theoretical) : Marks 75 ( 60 + 15 ) ---> Credit Point : 6 Credits.

• Theoretical Course : Tagore’s plays (Rabindra Natak) :75 ( 60 + 15 ) marks.
a. Tagore’s plays (Rabindra Natak) :
I . Texts.
II. Relevance the then time.
III. Pedagogy.
IV. Application.
V. Acting.
b. Tagore’s plays (Rabindra Natak) :
I.Types of Tagore’s plays.
II. Specialties.
III. Suitability of acting.
IV. Productions.
c. Tagore’s plays (Rabindra Natak) :
I. In translations.
II. From text to script.
III. Approaches in different media.
IV. Popularity.
d. Tagore’s plays (Rabindra Natak) :
I. Theme and massages.
II. Contemporary relevance.
III.The essay Rangamanchoftagore and its practicising in Santiniketan.
IV.Selected texts from Geetinatya to Visarjan, Saradotsaba to Phalguni, Tasher
Desh to Nritya Natya.

References texts :Geetinatya – Saradotsaba – TasherDesh, Visarjan,NrityaNatya.

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 List of theReference Books for
3 Years B. Mus. Honours Courses : Core Course, DSE and GE.

: Reference Books [ Bengali Version ] :

1. Bharata Natyashasrta [Translation] – Dr.SureshchandraBandyapadhyay.

2. Abhinay Darpan – Sagar Nandin [Translation].
3. NatakONatakiyatta – Dr.Sadhan Kumar Bhattacharya.
4. NatyatattaMimangsha – Dr.Sadhan Kumar Bhattacharya.
5. NatyaSahityerAalochanaONatakaBichar – Dr.Sadhan Kumar Bhattacharya.
6. NatakerRupReeti O Prayaga – Dr.Sadhan Kumar Bhattacharya.
7. Aristatoler Poetics O Sahitya Tatta – Dr.Sadhan Kumar Bhattacharya.
8. NatyaTattaBichaar –Dr. Durga Shankar Mukhopadhyay.
9. SwarOBakReeti– Dr.Gouri Shankar Bhattacharya.
10. Abhinay Shilpa : Kanthaswar O Uchcharan – AnjanDashgupta.
11. Deher Bhasha – AnjanDashgupta.
12. Prasanga :Abhinay – Ashok Mukhopadhyay.
13. Nataka Abhinaya – Prakash Nandy.
14. NatakaParichalana – Prakash Nandy.
15. ChayerDhonya –Utpal Dutta.
16. StanislavoskyeerAbhinayTatta –Utpal Jha.
17. KakeBaleNatyakala – Shambhu Mitra.
18. PrasangaNatya – Shambhu Mitra.
19. SanmargaSamparja – Shambhu Mitra.
20. Abhinay, ProjojanaOParichalana – Dr.Bibhuti Mukhopadhyay.
21. PashchimerNataka : Thespis theke Garrick – Shib Mukhopadhyay.
22. PashchimerNataka : Ibsen theke Albee – Rudra Prasad Sengupta.
23. BishwaRangalayaONataka– Dr. Geeta Sengupta.
24. AdhunikBishwaNatya Pratibha – Dr. Jiban KrishanaBandyapadhyay.
25. PachinNatyaPrasnaga : Avanti Kumar Sanyal.
26. TilattamaShilpa : Kumar Roy.
27. JapaniNatyakala – Prakash Nandy.
28. KalidasaOBhababhuti – D. L. Roy.
29. BharatiyaNatyaveda O Bangla Nataka – Sachchidananda Mukhopadhyay.
30. PrachinBharaterNatyakala –Mana Mohan Ghosh.
31. PrachinBharatiyaNataka O Theatre – Dr. Ranjit Kumar Mitra.
32. Bangla NatyaReeti : Vikash O Vaichitra – Dr.BishnuBasu.
33. Babu Theatre – Dr.BishnuBasu.
34. NatmanchaNatyarup :Pabitra Sarkar.
35. Bangla NatakerItihas :Dr.Ajit Kumar Ghosh.
36. Bangla NatyaSahityerItihas [ 2 Vol.] – Dr. Ashutosh Bhattacharya.
37. BangiyaNatyashalarItihas :Brojendranath Bandyopadhyay.
38. EkshoBachharerNatyaPrasanga – Deb Narayan Gupta.
39. BanglarNatnatee[ 4 Vol.] – Deb Narayan Gupta.
40. Kolkatar Theatre[ 2 Vol.] – Shankar Bhattacharya.
41. Bangla Rangalaya O Sisir Kumar – Hemandra Kumar Roy.
42. SoukhinNatyakalaye Rabindranath – Hemandra Kumar Roy.
43. Rabindra NatyaParikrama –Upendranath Bhattacharya.
44. Rabindra NatyaPrabaha – PramathaNathBishi.

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45. NatyaBhavitavya O Rabindranath – Kumar Ray.
46. KalerMatra O Rabindranath – Sankha Ghosh.
47. Rangamancha O Rabindranath – Dr. Rudra Prasad Chakravorty.
48. Rabindranath OSadharanaRangalaya– Harindranath Dutta.
49. RabindranatherGeetinatyaONrityanatya – Pranay Kumar Kundu.
50. Kabir Abhinaya– Avanti Kumar Sanyal.
51. Thakurbarir Abhinaya– Dr.Ajit Kumar Ghosh.
52. Bangla LokanatyaSamikskha –Dr.Gouri Shankar Bhattacharya.
53. NatyaAandyalanerTreeshBachhar– Sunil Dutta.
54. Annadhar Theatre– Sandhya Dey.
55. PataDeepDhwani– Amar Ghosh.
56. RangamachaSthapatya– Koushik Sanyal.
57. Mancha DrishyerParikalpanaONirman– Dr. Ranjit Kumar Mitra.
58. TheatareDrishyer Vikash O Samiksha –Dr. Ranjit Kumar Mitra.
59. AngarachanarRupReeti O Prayaga– Dr. Ranjit Kumar Mitra.
60. Rangamancha [VichitraPrabandhya] – Rabindranath Tagore.

: Reference Books [ English Version ] :

1. Aristotle : On the Art of Poetry – Ingram Bywater.

2. The Theatre and Dramatic Theory – A. Nicoll.
3. The Theory of Drama – A. Nicoll.
4. World Drama – A. Nicill.
5. The Development of Theatre – A. Nicoll.
6. Masters of Drama – John Gassner.
7. Theatre in Our Times – John Gassner.
8. Technique of the Drama – F. Gustav.
9. Greek Tragedy – H. D.F.Kitto.
10. Shakespearean Tragedy – A.C.Bradley.
11. The Elements of Drama – J. L. Styan.
12. Twentieth Century Drama – B. Gascigre.
13. The Theatre – S. Cheney.
14. History of the Theatre – Fredly and Reevees.
15. Tragedy – F. L. Lucus.
16. The Stage is Stage – Lee Simonson.
17. Theatrical Set Design – Devid Welker.
18. Stage Lighting Controls – Ulf. Sandstrom.
19. Essential of Stage Lighting – H. D. Sellman.
20. My Life in Art – C . Stanislavsky.
21. Building A Character – C . Stanislavsky.
22. An Actor Prepares – C . Stanislavsky.
23. Improvisation – J. Hodgson and F. Richards.
24. Theatre of B. Brecht – J. Willett.
25. The Third Theatre – Badal Sircar.
26. Producing the Play – John Gassner.
27. The Art of Actor – C. Coquelin.
28. Directors on Directing – T. Coley and H. Chinoy.
29. Actors on Acting – T. Coley and H. Chinoy.
30. Movement , Voice and Speech – A. M. Harner.
31. Stage Make-up – R. Corson.

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32. Natya Shastra : Bharata [ 2 Vol.] – M. M. Ghosh.
33. The Sanskrit Theatre – A. B. Keith.
34. Traditions of Indian Theatre – M. L. Varadpande.
35. The Bengali Theatre – K. Raha.
36. History of Calcutta Theatre – S. K. Mukhopadhyay.
37. The Indian Theatre – M. R. Anand.
38. Indian Drama – Publication Division, Govt. of India.
39. Sanskrit Drama and Dramaturgy – B. Bhattacharya.
40. Indian Costume – G. S. Ghurya.

Page 105 of 109

 Proposed Marks Division for 3 Years B.Mus. Honours.Course
(Choice Based Credit System).
Dept.: Rabindra–Sangit, Dance &Drama,Sangit–Bhavana, V.B.
Subject : Drama and Theatre Arts.

FOR SKILL ENHANCEMENT COURSE (SEC).

Title of the Course :Electricity and its Use.

Total Credit Points : 4Credits. Total Marks of the Course : 50.

• Semester : III = 25 Marks.

Course Numbers Marks Credit Point
SEC– 1 (Practical) 25 2
Total = 2

• Semester : IV = 25 Marks
Course Numbers Marks Credit Point
SEC– 2 (Practical) 25 2
Total = 2

Page 106 of 109

 SYLLABUS FOR B.MUS.CHOICE BASED CREDIT SYSTEM.
(3 YEARS COURSE)
Subject : Drama and Theatre Arts.
==================================================================
FOR SKILL ENHANCEMENT COURSE (SEC).
Title of the Course :Electricity and its Use.
** N.B. : Total Credit Points : 4 Credits.
Total Marksof the Course : i) Practical Course / Papers : 40 Marks.
ii) Viva – Voce and Project – work : 10 Marks.
Total : 50 Marks.
==================================================================
PROPOSED AREAS OF STUDIES TEORETICAL AND PRACTICAL COURSES / PAPERS.

3rdSemester: Full Marks : 25---> Credit Point : 2Credits.

Course : SEC–1(Practical &Viva–voce) : Marks : 25–>CreditPoint:2 Credits
• Electricity : Circuits and Wiring : with reference to house–hold and Stage–lighting] :
: 25marks.

4thSemester: Full Marks : 25---> Credit Point : 2Credits.

Course : SEC–1(Practical &Viva–voce) : Marks : 25–>CreditPoint:2 Credits
• Electricity : Project–work and execution of the Circuits : with reference to house–hold
and Stage–lighting :25marks.

Page 107 of 109

 SYLLABUS FOR B.MUS.CHOICE BASED CREDIT SYSTEM.
(3 YEARS COURSE)
Subject : Drama and Theatre Arts.
==================================================================
FOR SKILL ENHANCEMENT COURSE (SEC).
Title of the Course :Electricity and its Use.
** N.B. : Total Credit Points : 4 Credits.
Total Marksof the Course : i) Practical Course / Papers : 40 Marks.
ii) Viva – Voce and Project – work : 10 Marks.
Total : 50 Marks.
==================================================================
PROPOSED AREAS OF STUDIES TEORETICAL AND PRACTICAL COURSES / PAPERS.

3rdSemester: Full Marks : : 25---> Credit Point : 2Credits.

Course : SEC–1(Practical &Viva–voce) : Marks : 25 CreditPoint:2 Credits
• Electricity : Circuits and Wiring : with reference to house–hold and Stage–
lighting : : = 25marks.
*N.B. : This Course SEC – 1 [Practical paper] divided into two(2) Parts as Viva–voce / Oral
and Practicalas follows –
1. Viva–voce / Oral : 10 marks.
2. Drawing and Execution of the Circuits /Practical : 15 marks.
[Fundamentals and basic knowledge of Electricity, Electrical Terms and Definitions,
Potentiality & Voltage; Ohm’s law – its verifications, Series & Parallel combination of
resistances and specific resistance; Watt, Kilowatts, and calculation of Fan, Light, Plug-
points etc; A.C. and D.C. cycles, Frequency and Phases; Wire, Cables and their grade size &
shape, Current carrying capacity, Positive – Negative and Neutral wire, Close and Open
circuit. Electrician’s Hand – Tools & accessories, Instruments and different kinds of wirings,
Electrical signs and symbols, Safety precautions, Protective Devices, Electrical Fuses and
their Importance, Checking supply of electricity; System, layouts and calculation of
Distribution & Sub – distribution Boards, Working knowledge of lumens required for
different places and their calculation, table of lumens; Uses of different kinds of electrical
gadgets, meters, transformers, different kinds of dimmers, different between house – hold
wirings & stage – lighting wirings and its circuits,different types of VIR wires, Elementary
knowledge of Magnetism, prevention and treatment for the Electrical shocks, Indian
Electricity Rules etc. Drawing and making some preliminary circuits like Calling – bell and
Battery, Test – lamp, house – hold circuits with lamp, fan and plug – points etc.].

**Sub –Text : Using the above mentioned elements and items in the practical works.
4thSemester: Full Marks : 25 ---> Credit Point : 2Credits.
Course : SEC–2(Practical &Viva–voce) : Marks 25 CreditPoint:2 Credits.
• Electricity : Project–work and execution of the Circuits with reference to
house–hold and Stage–lighting : 25 marks.
*N.B. : This Course SEC – 1 [Practical paper] divided into two(2) Parts as Project work
on Electrical circuits and Practical as follows –
1. Project – Work on Electrical –circuits: 10 marks.
2. Execution of the Circuits / Practical : 15 marks.
[Project – work on House – hold circuits, Stage – lighting circuits etc., Execution of the
different kinds of house–hold and Stage–lighting circuits like Wire up the lamp//amps with
single – way / two – way / multiple – way switch(s)., wire up the complete house – hold
circuits with single / multiple Lamps, Fan(s), Plug – point(s), Indicator – lamp(s) and its

Page 108 of 109

different uses, Functions of different kinds of Control – board with & without Indicators,
Volt – meter, Ampere – meter, Watt – meter, Dimmers, Flood – lights, spot – lights etc.].

**Sub –Text : Using the above mentioned elements and items in the practical works.

# Project – Work: I. Each student is required to submit an Project – Work at the time of final
examination.
II. The topic of the project – work will be provided / selected by the
dept. 10 to 12 days before the final examination. The topic of the
project – work are to be provided /selected by the dept. from time to
time or chosen by the student with the approval of the dept. ] .

: Name of the Reference Books for SEC:

1. Introduction to Electricity : H. F. Boulind [English].

2. Elements of Electrical Gadgets (Part – IV) : K. B. Bhatia [English].
3. Lighting the Stage : P. Corry [English].
4. Technique of Stage Lighting : R. G. Williams [English].
5. Electrical Engineering :Ganendra Chandra Basu [Bengali].
6. Adhunik Electric Wiring,Repairing O Engineering Siksha : SadhucharanSheel
[Bengali].
7. Pat – Deep – Dhwani : Amar Ghosh [Bengali].

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