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Syllabus 2014

DEPARTMENT OF PERFORMING ARTS

SYLLABUS

2014-2015

CHRIST UINIVERSITY

Syllabus 2014

Bangalore – 29

DEPARTMENT OF PERFORMING ARTS

The Department of Performing Arts, established in 2010, initially started as a branch of the Department of Media Studies with one coordinator and two faculty members, and a mere strength of 20 students. In August 2012, it was declared as an independent department and since then, it has flourished and grown to an overall strength of 75 students, 3 permanent and 2 guest faculty members. Our very first batch graduated in the year 2013 and we aim to instill the same values in our future batches through our departmental vision and mission.

VISION

‘INTEGRITY THROUGH AESTHETIC PERFORMANCE’

MISSION STATEMENT

To inspire and mentor the birth and sustained growth of performance artists who, through cultural ethos, will embody respect, humility and discipline.

Syllabus 2014

PROGRAMME DESCRIPTION

The Bachelors in Performing Arts is envisioned for students who have a flair for dance, music and theatre and are looking for structured intervention at the UG level. The programme hopes to give a strong platform for our students to develop a passion for the arts, sharpen their artistic skills and broaden their theoretical base. While the focus will be predominantly within the parameters of dance, music and theatre, other art forms would act as subsidiaries under this three-dimensional approach.

The primary aim of the programme is not to make students experts in one art form or the other, but introduce them to the possibilities with art and to help them get an integrated sense of art. It is desirable that every students continues to work under an artist/group in one art form or the other outside curriculum, towards long term development,

As of now, the Performing Arts papers will function alongside of English and Psychology as a part of a triple-major combination. This combination will hopefully give linguistic, literary and psychological insights to the students.

Since there is scope for accommodating only one paper from all the three fields in each of the first two semesters, the second year is conceptualized in a form where the students can choose an area of specialization in one of the three art forms- dance, music or theatre, through the elective option. However, they need to stick on to the same specialized area till the last semester. In the third year, they shall have two papers per semester in their specialized area to give them a deeper understanding of the subject.

OBJECTIVES

To address a spectrum of art concerns. To give a base in dance, music and theatre. To stimulate a composite sense of art. To foster a blend of practical and theoretical understanding and practice in the arts. To enable identification and growth opportunities in chosen field of dance, music or

theatre.

Syllabus 2014

PROGRAMME STRUCTURE

I SEMESTER

Course Code

Course Title No. of Hours

Marks Credits

PEP 131 Introduction to Dance, Music and Theatre 75 100 4 PEP 101 Value-Added Course in Bharatanatyam 45 100 2

Assessment Pattern CIA (Weight) ESE (Weight) CIA I CIA II CIA III

25 10 10

50

II SEMESTER

Course Code


Marks Credits

PEP 231 Dynamics of Dance, Music and Theatre 75 100 4 PEP 201 Value-Added Course in Carnatic Music 45 100 2

Assessment Pattern CIA (Weight) ESE (Weight) CIA I CIA II CIA III

25 10 10

50

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III SEMESTER

Course Code


Marks Credits

PEP 331A PEP 331B PEP 331C

Representations of Bharatanatyam Terms and concepts in Carnatic Music

Indian Theatre

75 75 75

100 100 100

4 4 4

PEP 301 Mandatory Certificate Course in Proscenium Theatre

45 100 2

PEP 341 First Internship 30 100 2

Assessment Pattern CIA (Weight) ESE (Weight) Dance: CIA I CIA II CIA III

25 10 10

50

Music: CIA I CIA II CIA III

25 10 10

50

Theatre: CIA I CIA II CIA III

25 10 10

50

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IV SEMESTER

Course Code


Marks Credits


History of Bharatanatyam Evolution of Carnatic Music

Evolution of Indian Theatre – 1950 onwards

75 75 75

100 100 100

4 4 4

PEP 401 Value-Added Course in Playback Theatre 45 100 2


25 10 10

50


25 10 10

50


25 10 10

50

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V SEMESTER

Course Code


Marks Credits


Rasa and Bhava Musical Forms in Carnatic Style

Brief Introduction to Western and Eastern Theatre

75 75 75

100 100 100

4 4 4

PEP 532A PEP 532B PEP532C

Forms of Dancing Kalpitha Sangeetham

Applied Theatre

75 75 75

100 100 100

4 4 4

PEP 501 Value Added Course in Art Entrepreneurship 45 100 2 PEP 541 Second Internship 30 100 2


25 10 10

50


25 10 10

50


25 10 10

50

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IV SEMESTER

Course Code


Marks Credits


Tradition and Innovation Tala and Decorative Angas Modern Theatre Concepts

75 75 75

100 100 100

4 4 4

PEP 632A PEP 632B PEP632C

Forms of Dancing – II Manodharma Sangeetham

Theatre in Practice

75 75 75

100 100 100

4 4 4


25 10 10

50


25 10 10

50


25 10 10

50

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Bachelor in Performing Arts – SEMESTER I

Course Code: PEP 131

Course Name: Introduction to Dance, Music and Theatre

Total No. of hours: 75

Course Description: In this course the students will be introduced to the basic concepts of Bharatanatyam, Carnatic Music and Theatre to provide them with a clear overview of the three fields that they will be studying in the duration of this programme.

Objectives:

To give a strong base in the respective areas of dance, music and theatre. To expose them to the terms and practices in the field. To get an insider’s perspective of the field.

Course Learning Outcome: Introductory knowledge about the field

Level of Knowledge: Basic exposure to at least one art medium.

Unit 1 Introduction to Bharatanatyam 25 hrs

1. Introduction to Indian Classical Dance Forms – 10 hrs

Bharatanatyam Kathak Kathakali Kuchipudi Manipuri Mohiniattam Odissi Sattriya

- Introduction to the eight classical dance forms in terms of origin, history, technique, repertoire, costume and make up and accompaniments.

2. Natyotpatti – 2 hrs

- The origin of dance as per the Natyashastra of Bharata Muni.

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3. Fundamental Technical Terms – 4 hrs

Natya Nritta Nritya Adavu Korvai Jathi Sollukettu Nattuvangam Tandava Lasya

- Definitions and the understanding of the terms in brief.

4. Shlokas – 9 hrs

Asamyutha Hastas – Single Hand Gestures – From Pataka to Trishula Samyutha Hastas – Double Hand Gestures – From Anjali to Avahita

Unit 2 Introduction to Carnatic Music 25 hrs

Theory – 10 hrs

1. Brief history of Carnatic Music with special reference to Shri Purandara Dasa.

- Origin of music through different periods like vedic, divine, folk, nature, mythological aspects, history and musical forms.

- Biography of Purandara dasa and his contributions to Carnatic Music.

2. Technical Terms

Nada Swara Swarasthana Shruthi Arohana, Avarohana Sthayi Kala

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Akshara Kala Avartha Prakriti Swara Vikriti Swara Shadangas Dhatu, Matu Poorvanga, Uttaranga

- The detailed explanation of each term with types and examples.

3. Description of Saptha talas and the 35 variant talas.

- The names of the seven talas, angas, symbols, akshara kalas and jathis.

4. Brief knowledge of the following ragas:

Mayamalavagowlai Shankarabharanam

- Arohana, avarohana of the raga, its essential features, raga sancharas and famous compositions in the raga.

5. Musical instruments and their classification in general

- Classification of instruments like Thadha, Avanatha, Sushira and Gana vadyas.

- Explanation and examples of each category.

Practical – 15 hrs

Swaravali Varisai Jantai Varisai Hechusthyai Varisai Dhatu Varisai Sapta tala alankaras.

- The above mentioned preliminary lessons done in Mayamalavagowlai raga, set to adi tala.

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Unit 3 Introduction to Theatre 25 hrs

1. Theatre as a collaborative art – 5 hrs Understanding of personal knowledge and skill observed and acquired through learning, observation and self awareness related to theatre experiences. Introspection and collective understanding of the meaning of theatre. Understanding collaborative nature of theatre to engage painters, designers, dancers, musicians, make-up artists, carpenters etc towards holistic creation.

2. Working on the actor – 5 hrs Space writing exercises, voice, speech and movement. Body exercises and Creative movements, Voice exercises and Tongue twisting exercises, Exercises on imaginative thinking and creation, Focus of three dimensional tools for actors – Imagination, Improvisation and Projection

2. Origin and development of Indian Theatre – 10 hrs Ups and downs of Classical Indian Theatre. Literary evidence of the origin of Indian Drama from Rig Veda, Upanishads, Post Vedic Period and Buddhist period. Brief Introduction to major Indian folk theatre forms with broad focus on art forms which are region specific with unique styles. Eg Jatras, Koodiaatam, Yakshagana etc.

3. Play-reading and working on a scene for performance – 5 hrs Contextual reading, synopsis, and character reading of two scenes from well known Indian playwrights and two scenes from Western playwrights towards theatrical scene enactment. Suggested scripts - Charandas Chor, Kamala, The Tempest, Dolls House

Recommended Reading:

Dance:

1. Dance dialects of India – Ragini Devi

2. Indian Classical Dance Tradition in transition – Leela Venkataraman

3. Hastha Prayogah – Vocabulary of hand gestures in Bharatanatyam – Jayalakshmi Eshwar

4. The story of a Dance – Bharatanatyam – Krishna Sahai

5. Panorama of Indian Dances – Prof. U.S. Krishna Rao and U.K. Chandrabhagadevi

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Music:

1. Indian Music Series – Book IV, Dr. S V Leela, The Bharathi Gana Nilayam

2. Splendour of South Indian Music – P T Chelladurai

3. South Indian Music – Prof P. Sambamurthy

Theatre:

1. Natyashastra – Adyarangacharya

2. Performance Tradition in India – Suresh Awasthi Ed. Year 2009

3. From the Wings (Notes on Indian Theatre) – Nemichandra Jain

4. What we do – Working in the theatre – Bo Metzler, Infinity Publishing .com

5. Directing Drama – John Miles Brown, Peter Owen Ltd., London

6. Folk Theatre forms of India – Balwanth Gargi

Examination and Assessment:

1. CIA I – Mid Semester Examinations

This will have two components – Theory (50 marks), Practical (50 marks)

Theory: 5 questions to be answered out of 6 – 2 from each unit viz. dance, music, theatre.

Practical: Practical exam from the portions covered in class.

2. CIA II – Darpan Theatre Festival

Performance as a class in the Darpan theatre festival involving aspects of dance, music and theatre.

3. CIA III – Written assignment

1 assignment from each of the units of dance, music and theatre based on portions covered in class.

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4. End Semester Examinations


Theory: 5 questions to be answered out of 6.


Bachelor in Performing Arts – SEMESTER I


Course Name: Value- Added Course in Bharatanatyam


Objectives:

To introduce the students to the basics of Bharatanatyam. To make the students understand the subtle nuances of expression and movement.

Course Learning Outcome: Confidence to do Bharatanatyam

Level of Knowledge: Basic dance exposure.

Unit 1 BHARATANATYAM ADAVUS 45 hrs

Tattadavu – 8 Naatadavu – 8 Paravaladavu – 4 Kudhittamettu adavu – 4 Pakkadavu – 4

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Bachelor in Performing Arts – SEMESTER II


Course Name: Dynamics of Dance, Music and Theatre


Course Description: In this course the students will be trained in the basic dynamics of dance, music and theatre, aiding them to the choice of their specialization in the following year.

Objectives:

To understand the dynamic nature of the three forms – Dance, Music and Theatre. To provide deeper understanding of the subject and enable participants to choose their

area of specialization.

Course Learning Outcome: Basic experience to enable individuals to decide area of specialization.

Level of Knowledge: Understanding of subject, individual learning patterns and capabilities.

Unit 1 Understanding the dynamics of Dance 25 hrs

1. Abhinaya and its four types – 2 hrs

Angika, Vachikam Aharyam Sattvikam

-Definition, meaning and characteristic features of each.


Shiro Bheda Drishti Bheda Greeva Bheda Pada Bheda

- Shlokas, description and meanings of each.

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Deva hastas Jaathi hastas Bandhavya hastas Navagraha hastas Dashavatara hastas Ashtadikpala hastas

- Shlokas, description and meaning of each.

4. Dharmi and its 2 types – 2 hrs

Natyadharmi Lokadharmi

- Definition, meaning and characteristics of both.

5. Bharatanatyam repertoire – 2 hrs

Pushpanjali Alarippu Jathiswaram Shabdam Varnam Padam Thillana

- Description of each item of the repertoire in brief.

6. Adavus – 12 hrs

Mai adavu – 5 Poi adavu – 2 Kartari adavu – 1 Mandi adavu – 2 Theermanam – 4 Pancha jathi

- Continuation of adavus from Value-Added Course of Semester I.

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Unit 2 Understanding the dynamics of Music 25 hrs

Theory – 10 hrs

1. Scheme of 72 Melakartas

- Principles of 72 mela karta system, 12 chakras and their names, vivadi swaras, vivadi melas, katapayadi formulas and how to use the formulas.

2. Raga Classification in Carnatic Music

- Definitions of janaka raga and janya raga, their qualities, varieties of janya raga.

3. Notations used in Carnatic Music

- Definition of notation, symbols and their usages

4. Raga lakshana of Mohanam and Hamsadhwani

- Arohana, Avarohana, its melam, chakram and other essential features, famous compositions in the raga.

5. Trinity of Music

- Biography of the three composers – Shri Thyagaraja, Shri Muttuswami Dixitar and Shri Shyama Shastri.

Practicals – 15 hrs

Saptatala alankara Geetham – 4 Jathiswaram – 1

- Preliminary lessons set in adi tala.

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Unit 3 Understanding the dynamics of Theatre 25 hrs

1. Working on body, mind and voice – 10 hrs

-Bharat Muni’s four acting stages – Angika, Satvika, Vachika and Acharya.

-Enhancing the three spheres of mind, body and voice to prepare one to be an actor through structured and creative activity.

- Routines and Changes to expand the range of the theatre performer.

2. Improvisation and imagination – 2 hrs

-To build the actor with available scene material and creativity.

-Developing the performer to build on designed/created scenes through improvisation techniques.

-To extend the imaginative capacity of the actor through exercises and acting challenges.

-To equip the actor to be alert and alive to the reality and imagination opportunities of every performance.

3. Basics of Theatre Art – 3 hrs - Theoretical input on role and responsibilities of departments to enhance the design of play.

- Specific focus on direction, stage management, sets and props, costumes, light, make-up sound and backstage.

4. Rehearsals towards classroom performance – 10 hrs. - Identifying a play, editing the script towards creating a performance. Providing inputs to creative presentation and working under assigned directorial team to stage a performance.

- Presenting the understanding of theatre arts by working and showcasing a short theatre performance.


Dance:

1. Understanding of Bharatanatyam – Mrinalini Sarabhai

2. Abhinaya Darpan – Nandikeshwaram

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3. Natyashastra – Translated by Dr. Manmohan Ghosh

4. Laghu Bharatam – Sudharani Raghupati

5. The Science of Bharatnatyam – Saroja Vaithyanathan

Music:

1. The story of Music – Ullmann

2. A history of Musical style – Richard L. Crocker

3. Musical Knowledge – James Murray Brow

4. Theory of Music – work book – Trinity College

Theatre:

1. Minding the body and mending the mind – Joan Borysenko, The Bantam Books

2. All About Theatre – off stage – Chris Hogget

3. The elements of playwriting – Louis Catron

4. An Actor Prepares – Stanislavsky

5. Rangadalli Antaranga – K.V. Subbanna




Theory: 5 questions to be answered out of 6 – 2 from each unit viz. dance, music, theatre.


2. CIA II – Practical assignment

Practical assignment from the portions covered in class.

Syllabus 2014


1 assignment from each of the units of dance, music and theatre based on portions covered in class.

Bachelor in Performing Arts – SEMESTER II


Course Name: Value- Added Course in Carnatic Music


Objectives:

To introduce the students to the basics of Caranatic Music

Course Learning Outcome: Confidence to do Carnatic Music

Level of Knowledge: Exposure to the practical aspects of Carnatic music.

Unit 1:

Ashtapadi Padam

Unit 2:

Divyanama keertana – 2

Unit 3:

Utsava sampradaya keertana Oothukada Venkata Subbaiyar songs

Unit 4:

Bhadrachala Ramadasar keertana Annamacharya keertana

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Sadashiva Brahmendra keertana Thillana

Unit 5:

Preparing for group performance.

Bachelor in Performing Arts – SEMESTER III

Course Code: PEP 331A

Course Name: Representations of Bharatanatyam


Course Description: The students who choose to specialize in dance, in this course, will gain an understanding of the various representations of Bharatantyam across diverse aspects of gestures, iconography and notations. The theory will also be well balanced with practical lessons that will include the preliminary items of the repertoire.

Objectives:

To advance the knowledge and skill level of the chosen subject. To provide a platform to practically experiment and exhibit the learning of the subject.

Course Learning Outcome: Showcasing the learning through practical demonstration.

Level of Knowledge: Deeper understanding of the chosen subject through theory and practice.

REPRESENTATIONS OF BHARATANATYAM

Unit 1:

Dance and iconography – 4 hrs

- Discovering the relationship between dance and iconography.

- Tracing the royal patronage of dance through ages and expressions of dance through sculptures and paintings in the temples of India.

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Unit 2:

Styles of Bharatanatyam – 4 hrs

Pandanallur Vazhavoor Tanjore

- Origin and characteristics of the different styles.

Unit 3:

Tandava and Lasya – 6 hrs

-Definition, classification and characteristics of each.

Unit 4:

Viniyogas – 11 hrs

Asamyutha Hastas (From Pataka to Trishula) Samyutha Hastas (From Anjali to Avahita)

- Exploring the various usages of the hastas.

Unit 5:

Notations – 6 hrs

- Definition and concept of notations, importance of notation, notating the items learnt in syllabus.

Unit 6:

Alarippu – 10 hrs

Unit 7:

Pushpanjali – 10 hrs

Unit 8:

Kauthwam – 9 hrs

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Unit 9:

Jathiswaram – 15 hrs.






2. CIA II – Written assignment

Written assignment from the portions covered in class.

3. CIA III – Practical assignment







1. Music and Dance in temple architecture – Choodamani Nandagopal

2. Abhinaya Darpana – Nandikeshwara



5. The Science of Bharatanatyam – Saroja Vaidhyanathan

Syllabus 2014

Course Code: PEP 331B

Course Name: Terms and Concepts in Carnatic Music


Course Description: The students who choose to specialize in music, in this course, will be exposed to theory of technical terms and concepts at the intermediate level of musical knowledge. Alongside, their practical will introduce them to the preliminary forms under Carnatic Music.

Objectives:




TERMS AND CONCEPTS IN CARNATIC MUSIC

Theory – 15 hrs

Unit 1:

Technical terms and their meaning

Akara Sadhaka Abhyasa Gana Sabha Gana Alapana Kriya Chaturtha Kala Deergha Hrasva Sanchari Sanchara Dhat Opera Navarasas

- Definitions, symbols and usages of the terms.

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Unit 2:

Gayaka gunas and doshas

- Set of rules and regulations to be followed and to be avoided by a vocalist while singing and the qualities of a vocal artist.

Unit 3:

Mudras figuring in musical compositions

- Eight kinds of mudras, its definitions, examples and usages.

Unit 4:

Gamakas

- Names of dashavidha gamakas, their definitions, symbols and how to render gamakas in compositions.

Unit 5:

Tala dasha pranas

- 10 important aspects of talas, their definitions, symbols and examples.

Unit 6:

Biography of Shri Jayadeva.

- Life history of the composer and his major contributions to Carnatic Music.

Practical:

Unit 1:

Rendering musical forms

Swarajathi – 10 hrs Jathiswaram – 10 hrs Adi tala Varnam – 20 hrs

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Unit 2:

Keerthanas in the following ragas –

Hamsadhwani – 10 hrs Mohanam – 10 hrs Hindolam/ Kalyani – 15 hrs








3. CIA III – Swaranjali

Preparation and performance for the programme.






1. Indian Music Series – Book IV, Dr. S.V. Leela, The Bharathi Gana Nilayam

2. Indian Music Serirs – Book I, II, III, Dr. S.V. Leela, The Bharathi Gana Nilayam

3. Splendor of South Indian Music – P.T. Chelladurai

4. South Indian Music – Book I, II, III, IV, V, Prof. P. Sambamurthy

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Course Code: PEP 331C

Course Name: Indian Theatre


Course Description: This course gives a deeper insight to the students with regard to Natyashastra and various forms of Indian Classical and Folk Theatre.

Objectives:




INDIAN THEATRE

Unit 1:

Natyashastra – An introduction to the fundamentals – 15 hrs

- Understanding the history of theatre through Natyashastra.

Unit 2:

Types and forms of theatre – 25 hrs

Yakshagana Tamasha Chhau

- Brief introduction to the forms of folk theatre

Unit 3:

Analysing Indian plays – Scripts and performances – 25 hrs

Sanskrit play – Kalidasa/ Bhasa/ Shudraka Regional play

- Introduction to the different plays in terms of scripting, design and performance.

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Unit 4:

Character psychology – 10 hrs.

- Building a character as a preliminary step towards realistic acting.


1. The Natyashastra of Bharata Muni – Shri Sadguru Publications

2. Performance tradition in India - Suresh Awasthi Ed. Year 2009

3. Kalidasa’s Abhignyana Shakuntalam – M.R. Kale

4. The Indian Theatre – Hemandranath Dasgupta

5. Actors Audition’s – David Black, Vintage








3. CIA III – Classroom production






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Mandatory Certificate Course in Proscenium Theatre


Course Name: Mandatory Certificate Course in Proscenium Theatre


Course Learning Outcome: Basic skills in exploring creative ideation, managing resources and talent to create and showcase a team performance.

Level of Knowledge: Integration of dance, music and theatre to create integrated performing arts.

Unit 1:

Working on theme Creating a framework and script Designing and stage management Budgeting and marketing

Unit 2:

Incorporating dialogue and acting Incorporating music Incorporating dance

Unit 3:

Working with sets Working with lights Working with costumes and make up

Unit 4:

Combined rehearsal and integration Run through and corrections Technical rehearsals to invited audience

Unit 5:

Show Learning outcomes and feedback.

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FIRST INTERNSHIP


Marks: 100

Credits: 2

Total No. of Hours: 30

PEP students have to undertake an internship of not less than 26 working days in any performing arts or fine arts institution or any other approved by the programme coordinator.

Following are the objectives of the internship:

To enable students to get exposure to the field of interest To give an opportunity for the students to get a practical experience in their field of

interest. To strengthen the curriculum based on the internship feedback wherever relevant To help students choose their career through practical experience.

The internship is to be undertaken after the completion of the second semester. The internship is a mandatory requirement for the completion of the PEP course. The students will have to give an internship proposal with the following details: organization where the student proposes to do the internship, reasons for the choice, nature of the internship, period of internship, relevant permission letters, name of the mentor in the organization and their contact details with whom Christ University could communicate matters related to internship. Typed proposals will have to be given at least a month before the end of the second semester.

The HOD will assign faculty members from the department as guides at least two weeks before the end of the second semester. The students will have to be in touch with the guides during the internship period either through personal meeting, over the phone or through emails.

At the place of internship, the students are advised to be in constant touch with their mentors. At the end of the required period of internship, the candidates will submit a report in not less than 1500 words. The reports should be submitted within the first month after the commencement of the third semester.

Apart from a photocopy of the letter from the organization stating the successful completion of the internship, the report shall have the following parts –

Introduction to the place of internship Reasons for the choice of the place and kind of internship Nature of internship

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Objectives of the internship Tasks undertaken Learning outcome Suggestions, if any Conclusion

A photocopy of the portfolio, if available may be given along with the report. However, the original output, if available, should be presented during the internship report presentation.

The report shall be in the following format:

Font size – 12

Font – Times New Roman (line spacing 1.5)

Name, register no, course name, date of submission (on the left hand top corner of the page)

Title of the report – ‘Report of internship undertaken at ………… from ……… (dd/mm/yy) to …………….’ (at the center of the page)

The evaluation criteria will be as follows:

Report – 75 (job done and learning outcome – 40, regularity – 15, language – 10, adherence to format – 10)

Report presentation – 25 (clarity – 10, effectiveness – 10, impression -5)

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Bachelor in Performing Arts – SEMESTER IV


Course Name: History of Bharatanatyam


Course Description: This course will delve deeper into the roots of our tradition by introspecting the history and development of Bharatanatyam through the various ages – from the devadasi tradition of the 10th century, through the Mughal era, and the Indian freedom struggle, up to the present day. The students will also learn about a few prominent figures in the field and their contributions. The practical will consist of the next set of items from the repertoire continued from the last semester.

Objectives:

To provide a deeper knowledge and skill of the chosen main subject. To provide a learning framework and understanding of our tradition and heritage. To understand the aesthetics and dynamics of integration and create a wholesome

experience of performing arts.

Course Learning Outcome: Deeper understanding and integrated performance.

Level of Knowledge: Skills, aesthetics, basic management and execution of performance.

HISTORY OF BHARATANATYAM

Unit 1:

Bharatanatyam over the years – 4 hrs

- Tracing the development of Bharatanatyam from the era of the devadasis to the modern times.

Unit 2:

Heritage of Devadasis – 4 hrs

- Beginning of the devadasi culture, changes during the Mughal and the British era, reformists and revivalists and the post-independence times.

Unit 3:

Biography of E. Krishna Iyer – 2hrs

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Unit 4:

Biography of the Tanjore Quartet and their contributions to Bharatanatyam and Carnatic Music – 2 hrs

Unit 5:

Treatises on Bharatanatyam – Natyashastra and Abhinaya Darpanam – 5 hrs

- Brief study of the treatises in terms of their history, content, importance and purpose

- Comparative study of the two texts.

Unit 6:

Shabdam – 18 hrs

Unit 7:

Keertanam – 20 hrs

Unit 8:

Tana Varnam/Thillana – 20 hrs








3. CIA III – University Dance Day - NRITTA


Syllabus 2014






1. Understanding of Bharatanatyam – Mrinalini Sarabhai




5. Bharatanatyam – Ragini Devi

6. Dance of India – History, perspectives and prospects – Edited by David Waterhouse


Course Name: Evolution of Carnatic Music


Course Description: In this course the students will gain insight into the evolution of Carnatic Music over the centuries through the biographies of famous composers. The course also aims to look at the aspect of folk music along with concepts and practical lessons that will enrich their musical experience.

Objectives:



Syllabus 2014



EVOLUTION OF CARNATIC MUSIC

Unit 1:

Biography of Maharaja Swathi Thirunal and Shri Thyagaraja -2 hrs

- Life sketch of the composer and his contributions to Carnatic Music.

Unit 2:

General knowledge of the structure of tambura, flute, veena and its playing techniques – 2 hrs

- Structure of the instruments with diagrams and their playing techniques.

Unit 3:

Accompaniments figuring in kathakalakshepa, duties and rights of accompanists – 2 hrs

- The instruments used in kathakalakshepam

- Rules and regulations to be followed by the accompanists, do’s and don’ts of accompanists according to kacheri dharma.

Unit 4:

Musical forms and their classifications – 2 hrs

- Two types of musical forms: abhyasa and sabha gana

- Definitions and examples of each form.

Unit 5:

Folk music and its characteristics – 2 hrs

- Kinds of musical forms, ragas, talas, languages used and composers.

Unit 6:

Ragalakshanas – 2 hrs

Bhairavi Vasantha

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Kalyani

Unit 7:

Musical forms:

Ata tala Varnam – 25 hrs Adi tala Varnam – 15 hrs Padam/ Tarangam – 10 hrs

Unit 8:

Krithis in the following ragams:

Neelambari – 5 hrs Shuddha Saveri -5 hrs Sahana/Gowlai – 5 hrs








3. CIA III – Thyagaraja Mahotsav






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2. Indian Music Series – Book I, II, III, Dr. S.V. Leela, The Bharathi Gana Nilayam



5. Dictionary of South Indian Music and Musicians – Prof. P. Sambamurthy

6. Carnatic Music Composers – Triveni Foundations

7. Brochure on Musical Instruments – Vol. I and II, Development centres for musical instruments.


Course Name: Evolution of Indian Theatre – 1950 onwards


Course Description: This paper aims to take the students through the journey and development of Indian Theatre from 1950 to the present day.

Objectives:





Syllabus 2014

EVOLUTION OF INDIAN THEATRE – 1950 onwards

Unit 1:

Indian Modern Theatre – 1950 onwards – 25 hrs

- Impact and effect of partition, post independence theatre, political theatre, Theatre of the Roots, Setting up of academies by the government.

Unit 2:

Introduction to aesthetics and Cultural Significance – 15 hrs

- Effect of Western theatre on regional theatre, Theatre of the Gender.

Unit 3:

Art Management - marketing, creating content, planning, designing and executing – 15 hrs

Unit 4:

Direction, rehearsals and run through- creating a team with double – casting, scheduling, stage management, blocking and incorporating movements with music – 20 hrs








3. CIA III – Classroom Production




Syllabus 2014




1. Poetics and Performance – Vasudha Dalmia

2. Art of Management and Theatre – Norman Dublin

3. Foundation of Indian Aesthetics – Vidya Niwas Misra

4. Theatres of India – Ananda Lal

5. Collection of plays – Vijaya Tendulkar

Bachelor in Performing Arts – SEMESTER IV


Course Name: Value- Added Course in Playback Theatre


Objectives:

To introduce the participants to the basics of Playback Theatre To enable the understanding and interplay of human emotions To make participants work as a team

Course Learning Outcome: Confidence to do Playback Theatre

Level of Knowledge: Basic theoretical exposure.

Unit 1:

Learning the basics of Playback Theatre – 6 hrs

- An improvisational theatre form of enacting real life stories on the spot without preparation

Syllabus 2014

Unit 2:

Beginnings of Playback Theatre – 6 hrs

The sense of story Scene and other forms Being a Playback Actor

Unit 3:

Conducting – 6 hrs

Unit 4:

Growing in the world – 6 hrs

Unit 5:

Breathing and voice exercises, knowing fellow actors, team work and cooperation, exaggerating and limiting body expressions, developing alertness and awareness of floor space – 6 hrs

Unit 6:

Rituals of Playback Theatre, acting in different stages of life, real life stories, creative visualizations – 6 hrs

Unit 7:

Scene settings, music in stories, activity for the soul, exploring movement with fellow actors – 6 hrs

Unit 8:

Three Playback theatre shows – 18 hrs

Performance for institutional assessment Performance for family and friends Performance for general public

Syllabus 2014

Bachelor in Performing Arts – SEMESTER V


Course Name: Rasa and Bhava


Course Description: This course aims at providing theoretical knowledge and deeper understanding of the dynamics of stage performance with reference to Natyashastra.

Objectives:

To provide a deeper understanding of theoretical knowledge. To explore advanced options of learning in the chosen field.

Course Learning Outcome: Ability to perform as per the requirement of the art form.

Level of Knowledge: Advanced level of knowledge and understanding of the chosen art form.

RASA AND BHAVA

Unit 1:

Description of Bhavas – 13 hrs

- Sthayi bhava, vibhava, anubhava, sanchari bhava, sattvika bhava

Unit 2:

Description of rasas – 15 hrs

- Navaras according to Nandikeshwara’s Abhinaya Darpana.

Unit 3:

Ashtanaayikas and Nayakas – 15 hrs

- The eight types of heroines in dance and drama according to Natyashastra.

- The four types of heroes in dance and drama according to Natyashastra.

Unit 4:

Basic theories of Contemporary Dance – 10 hrs

- Meaning, technical terms, basic exercises and working with the body.

Syllabus 2014

Unit 5:

Biographies – 12 hrs

Shri Jayadeva, Shri Narayana Theertha, Maharaja Swathi Thirunal, Shri Khshetrajnya and Smt. Rukmini Devi Arundale.

- Life sketches and their contributions to the field of dance and music.

Unit 6:

Talas and notations – 10 hrs

- The saptha talas and the 35 variant talas according to Carnatic Music.

- Notations of items learnt in syllabus.









The theory paper from this semester onwards will be of 100 marks where 5 questions to be answered out of 7, each carrying 20 marks.


1. RASA – The Indian performing arts in the last 25 years – Vol I


3. Natyashastra – Translated by Manmohan Ghosh

Syllabus 2014

4. Soundarya Sameeksha – Prof. G.S. Shivarudrappa

5. The Science of Bharatanatyam – Saroja Vaidhyanathan


Course Name: Musical Forms in Carnatic Style


Course Description: This course aims at providing theoretical knowledge and deeper understanding of the different forms and structures of Carnatic Music.

Objectives:




MUSICAL FORMS IN CARNATIC STYLE

Unit 1:

Manodharma Sangeetham and its forms – 10 hrs

- Forms of creative music – raga alapana, niraval, kalpanai swaram, pallavi exposition.

Unit 2:

Structure of Gottu vadhyam and Sitar and their playing techniques – 10 hrs

- Structure of the instruments with their diagrams and playing techniques.

Unit 3:

Seats of Music in South India during 18th and 19th century – 10 hrs

- The central seats of music like Madras, Tanjore, Mysore and Rampur and their importance.

Syllabus 2014

Unit 4:

Raga lakshanas – 10 hrs

Thodi Abhogi Arabhi Kharaharapriya Saveri Shankarabharanam Amrithavarshini Bhairavi

- Arohana, Avarohana, other essential features and famous compositions in the above mentioned ragas.

Unit 5:

Musical sound and their characteristics – 10 hrs

Musical sound Pitch Intensity Timbre Sympathetic vibration Resonance Echoes

- Definition and detailed explanation.

Unit 6:

Biography and contribution of the following composers – 10 hrs

Shri Bhadrachala Ramadasar Shri Sadashiva Brahmendra Shri Muttaiah Bhagavathar Shri Shyama Shastri

Syllabus 2014

Unit 7:

Musical opera of Shri Thyagaraja – 15 hrs

-Story of the opera ‘Prahalada Bhakti Vijayam’, its kritis, ragas and talas used in it.


















Syllabus 2014


Course Name: Brief introduction to Western and Eastern Theatre


Course Description: The paper aims at a practical and formal introduction for the performing artist to the identified performance stage, after basic training in the area of interest.

Objectives:




BRIEF INTRODUCTION TO WESTERN AND EASTERN THEATRE

Unit 1:

Introduction to Western Theatre – 20 hrs

Greek, Roman, Elizabethan (Shakespeare), European

- History and evolution of Theatre in the Western world.

Unit 2:

Introduction to Eastern Theatre – 20 hrs

Chinese Japanese, Indonesian

- The history and performance of Mah and Kabuki Theatre.

Unit 3:

Rhetoric Theatre – Voice and Speech – 10 hrs

Syllabus 2014

Unit 4:

Musical Theatre – Music – 5 hrs

Unit 5:

Physical Theatre – Body and Mind – 5 hrs

Unit 6:

Applied Theatre – 15 hrs

- Theatre and its application across content and context.







3. CIA III - Written assignment





1. Greek Theatre Performance – David Willes

2. Some aspects of Sanskrit drama and dramaturgy – S. S. Janaki

3. Shakespeare – Collection of plays

Syllabus 2014

4. Learning through Theatre – New perspectives on Theatre – in – Education – Tony Jackson, Routledge – Taylor and Francis Group.

5. Leadership Presence – Belle Linda Halpern and Kathy Lubar

6. Role Play – David Turner



Course Name: Forms of Dancing


Course Description: The paper aims to explore the various forms and types of performances in Classical Dance.

Objectives:

To provide a deeper understanding of practical aspects. To explore advanced options of learning in the chosen field.



FORMS OF DANCING

Unit 1:

Padam – 10 hrs

- A Padam from the Bharatanatyam repertoire that includes intense abhinaya and subtle nritta.

Unit 2:

Padavarnam – 20 hrs

- Meaning of the Varnam, understanding choreography, jathi recitation and abhinaya excerpts

Syllabus 2014

Unit 3:

Thillana – 10 hrs

Maiadavu, arudhi, korvais, sahityam

Unit 4:

Keertanam – 9 hrs

- Meaning, understanding the choreographer’s interpretation, hastas used for the abhinaya.

Unit 5:

Nattuvangam – 6 hrs

- Understanding the concept behind the cymbol’s usage, method of playing, recitation of korvais and Jathis.

Unit 6:

Introduction to contemporary dance – 20 hrs

- Warm ups – systemized warm up – both general and movement specific, targeting joints and specific muscle groups, choregraphed movement sequences for warm up, concetntrating on weaker areas, breathing techniques, creative exercises to increase mental application.






3. CIA III - Practical assignment


Syllabus 2014


The end semester examination for this paper will be a practical exam of 100 marks that will have two components of performance and viva.


1. Understanding of Bharatanatyam – Mrinalini sarabhai


3. Natyashastra – Translated by Manmohan Ghosh


5. Bharatanatyam – In depth study – Saroja Vaidhyanathan


Course Name: Kalpitha Sangeetham


Course Description: The paper aims to explore the various forms and types of Kalpitha Sangeetham.

Objectives:




KALPITHA SANGEETHAM

Unit 1:

Previous adi tala varnas (two speeds) – 5 hrs

Syllabus 2014

Unit 2:

Thiruvottriyur or Srirangam Pancharatnam – 10 hrs

- Composition of Thyagaraja in praise of the temple deities in Thiruvottriyur, Srirangam

Unit 3:

Swarajathi of Shri Shyama Shastri – 20 hrs

- Study of swara and sahityam.

Unit 4:

Kritis in the following ragas – 30 hrs

Shankarabharanam Mohanam Saveri Hindolam Kharaharapriya Aarabhi/Amritavarshini

Unit 5:

Introduction to Manodharma Sangeetham – 15 hrs

- Raga alapana for any two above mentioned ragas.

Unit 6:

Introduction to Hindustani Music practicals – 30 hrs






3. CIA III - Swaraanjali

Syllabus 2014













Course Name: Applied Theatre


Course Description: The paper aims to explore the various forms and types of applied theatre.

Objectives:




Syllabus 2014

APPLIED THEATRE

Unit 1:

Mime – 20 hrs

- History and technique of mime, ending with classroom production.

Unit 2:

Puppetry – 15 hrs

- Making of puppets, cultural significance of puppets and its various types.

Unit 3:

Clowning – 15 hrs

- History and technique of clowning

Unit 4:

Mask – 10 hrs

- Usage of masks in Greek theatre, making of the mask.

Unit 5:

Applied Theatre (Advanced) – 15 hrs

- Theatre and its applications across content and context.






3. CIA III – Classroom Production


Syllabus 2014




1. MIME – The next step – J. Geoffrey Stevenson

2. Indian Puppets – Sampa Ghosh and Utpal Banerjee

3. The Art of Clowning – Eli Simon

4. Masking the unmasked – Eli Simon



Course Name: Value- Added Course in Art Entrepreneurship


Course Learning Outcome: Identifying and creating options for growth as an Art Entrepreneur

Level of Knowledge: Understanding and experiencing the Entrepreneurship way of working.

Unit 1:

Defining the Art Entrepreneur Identification, defining and redefining the Entrepreneur Princilples of Entrepreneurship Creating a vision and mission

Unit 2:

Understanding business models Experiencing an Entrepreneurship forum Creating a business plan

Syllabus 2014

Unit 3:

The three pillars – Capital, Manpower and Organisation Identifying specific area of Art Entrepreneurship Validating the business plan

Unit 4:

Working with existing business of Art Art management Government procedures

Unit 5:

Books of accounts Branding, Marketing and Communication Making the Art business work

SECOND INTERNSHIP


Marks: 100

Credits: 2

Total No. of Hours: 30

PEP students have to undertake an internship of not less than 26 working days in any performing arts or fine arts institution or any other approved by the programme coordinator.

Following are the objectives of the internship:

To enable students to get exposure to the field of interest To give an opportunity for the students to get a practical experience in their field of

interest. To strengthen the curriculum based on the internship feedback wherever relevant To help students choose their career through practical experience.

Syllabus 2014

The internship is to be undertaken after the completion of the fourth semester. The internship is a mandatory requirement for the completion of the PEP course. The students will have to give an internship proposal with the following details: organization where the student proposes to do the internship, reasons for the choice, nature of the internship, period of internship, relevant permission letters, name of the mentor in the organization and their contact details with whom Christ University could communicate matters related to internship. Typed proposals will have to be given atleast a month before the end of the second semester.

The HOD will assign faculty members from the department as guides at least two weeks before the end of the second semester. The students will have to be in touch with the guides during the internship period either through personal meeting, over the phone or through emails.

At the place of internship, the students are advised to be in constant touch with their mentors. At the end of the required period of internship, the candidates will submit a report in not less than 1500 words. The reports should be submitted within the first month after the commencement of the third semester.

Apart from a photocopy of the letter from the organization stating the successful completion of the internship, the report shall have the following parts –

Introduction to the place of internship Reasons for the choice of the place and kind of internship Nature of internship Objectives of the internship Tasks undertaken Learning outcome Suggestions, if any Conclusion

A photocopy of the portfolio, if available may be given along with the report. However, the original output, if available, should be presented during the internship report presentation.

The report shall be in the following format:

Font size – 12

Font – Times New Roman (line spacing 1.5)

Name, register no, course name, date of submission (on the left hand top corner of the page)

Syllabus 2014

Title of the report – ‘Report of internship undertaken at ……….… from ………… (dd/mm/yy) to …………….’ (at the center of the page)

The evaluation criteria will be as follows:

Report – 75 (job done and learning outcome – 40, regularity – 15, language – 10, adherence to format – 10)

Report presentation – 25 (clarity – 10, effectiveness – 10, impression -5)

Bachelor in Performing Arts – SEMESTER VI


Course Name: Tradition and Innovation


Course Description: The paper aims to explore the relationship between mythology and dance and also provides for an insight into the technical details of stage, sound and light in Classical Dance.

Objectives:

To provide a deeper understanding of the traditions and its association to arts. To explore advanced options of learning in the chosen field.

Course Learning Outcome: Ability to understand and apply the learnings.

Level of Knowledge: Advanced level of knowledge and understanding in relation to the context.

TRADITION AND INNOVATION

Unit 1:

Mythological stories – 20 hrs

- Study of the famous mythological stories from the epics Ramayana, Mahabharatha and also from Srimadbhagavatham, Shiva Purana and Vishnu Purana.

Syllabus 2014

Unit 2:

Vrittis – 10 hrs

-Different styles of presentation as laid down in Bharat Muni’s Natyashastra – kaishiki, satvati, arabhati and bharati.

Unit 3:

Stage, Orchestra, Sound and Light – 10 hrs

- The basic concepts, equipments used, colours, instruments, sound engineering and creative thinking

Unit 4:

The folk tradition of India – 25 hrs

Importance of folk dances in our lives Arayarsevai The folk dances from the states of Karnataka, Andhra Pradesh, Tamil Nadu, Kerala,

Maharashtra, Gujrat, Bihar, Orissa, Assam, Punjab and Kashmir Folk instruments like tavil, paanai, pampai, dollu and nadaswaram

Unit 5:

Dances in modern times – 10 hrs

- Understanding the need for innovation, study of transitions, judgmental approach towards different concepts, creative thinking and improvisation techniques.






Syllabus 2014






1. Indian Dances – Raja Singha and Reginald Masseey, Published by Madrapuri Sangeet Vidwat Sabha

2. Natyashastra Sangraha – Saraswati Mahal Library, Tanjore

3. Dance and Costumes of India – Kayk Abrose, By Adam and Charles Black, London

4. Panorama of Indian Dances – U.S. Krishnarao and U.K. Chandrabhagadevi, Shri satguru Publications, Indian book Centre, delhi


6. Natya bala bodhini – K. Swanambhigai, Peripheral services

7. Folk Dance Traditions of India – Shovana Narayan

8. Folk Dance – Tribal, Ritual and Martial Forms – Ashish Mohan Khokar


Course Name: Tala and Decorative Angas


Course Description: The paper aims to explore the various aspects of tala and the decorative angas figuring in Carnatic Music.

Syllabus 2014

Objectives:




TALA AND DECORATIVE ANGAS

Unit 1:

Decorative angas figuring in kritis – 10 hrs

- Eleven decorative aspects of Carnatic Music, definition and examples

Unit 2:

Shadangam and Shodashangam, Chhappu talas and its varieties, deshadi and madyathi talas, 35, 175 and 108 talas – 10 hrs

Six angas Shodashangas having 16 angas

Chhappu talas – definition and examples Deshadi mathyathi – definition and examples Derivation of 108 and 175 talas.

Unit 3:

General Knowledge of the structure of mridangam, tavil, Tabla and its playing techniques – 10 hrs

- Structure of the above mentioned percussion instruments with diagrams and their playing techniques.

Unit 4:

Boigraphies of Nrayana Teertha, Kshetrajna, Papanasam Shivam – 10 hrs

- Life history of the composers and their major contributions to the field of Carnatic Music.

Syllabus 2014

Unit 5:

Comparative study of Hindustani and Carnatic Music – 10 hrs

-Study of the respective ragas and talas

Unit 6:

Musical Prosody – 10 hrs

Important terms and its varieties, rules of prosody and evaluation of musical components.

Unit 7:

Ragalakshanas – 10 hrs

Sriragam Shanmughapriya Reetigowlai Keeravani

Poorwikalyani Thodi Kaanada Behag

- Arohanam, Avarohanam, essential features and famous compositions in the ragas.








Syllabus 2014












Course Name: Modern Theatre Concepts


Course Description: The paper aims to explore Modern Theatre concepts.

Objectives:




Syllabus 2014

MODERN THEATRE CONCEPTS

Unit 1:

Stanislavsky – 15 hrs

Unit 2:

Brecht – 15 hrs

Unit 3:

Artaud – 15 hrs

Unit 4:

Grotowski – 10 hrs

Unit 5:

Mayerhold – 10 hrs

Unit 6:

Augusto Boal – 10 hrs

- Understanding the theory, history, technique and concepts of the above mentioned playwrights.




2. CIA II - Written assignment




Syllabus 2014




1. Encyclopedia of World Drama – John Gassnel

2. The Theatre of Bertolt Brecht – John Willet

3. At work with Grotowski on physical actions – Thomas Richards, published by Routledge

4. Games for Actors and Non Actors – Augusto Boal

5. An Actor Prepares – Stanislavsky

Bachelor in Performing Arts – SEMESTER VI


Course Name: Forms of Dancing - II


Course Description: The course aims to provide advanced knowledge in Bharatnatyam and explore the form of Contemporary as well.

Objectives:




Syllabus 2014

FORMS OF DANCING – II

Unit 1:

Thodayamangalam – 12 hrs

- Meaning, concept of choreography, composer, jathi recitation, sahityam, eduppu ets.

Unit 2:

Ashtapadi – 13 hrs

- Concept of Ashtapadi, composer, interpretation of the choreography, meaning

Unit 3:

Contemporary Dance – 20 hrs

- Techniques: movement anatomy, fundamentals of floor work technique and contact improvisation, technique to improve body alignment, balance, agility, flexibility, exercise targeting special space awareness, technique to understand extension and rotation, application and understanding of lines and core muscles, basic Taekwondo kicks.

Unit 4:

Padavarnam – 20 hrs

- Meaning, understanding choreography, jathi recitation and abhinaya excerpts.

Unit 5:

Thillana – 10 hrs

- Mai adavu, arudhi, korvais and their calculations and sahityam.






Syllabus 2014

3. CIA III - Practical assignment





1. Indian Dances – Raja Singha and Reginald Masseey, Published by Madrapuri Sangeet Vidwat Sabha

2. Natyashastra Sangraha – Saraswati Mahal Library, Tanjore

3. Dance and Costumes of India – Kayk Abrose, By Adam and Charles Black, London

4. Panorama of Indian Dances – U.S. Krishnarao and U.K. Chandrabhagadevi, Shri satguru Publications, Indian book Centre, delhi


6. Natya bala bodhini – K. Swanambhigai, Peripheral services


Course Name: Manodharma Sangeetham


Course Description: The course aims to provide advanced knowledge in Carnatic Music.

Objectives:



Syllabus 2014


MANODHARMA SANGEETHAM

Unit 1:

Thyagaraja gana raga pancharatnam – 20 hrs Thillana / Thirupugal – 2 hrs Ashtapadi / Javali – 3hrs

Unit 2:

Krithis in the following ragas – 15 hrs

Keeravani Poorvikalyani Shanmughapriya Reethigowlai Behag

Unit 3:

Manodharma Sangeetham – 35 hrs

- Alapana, kalpanai swaras for any two of the above ragas.






3. CIA III – Thyagaraja Mahotsav


Syllabus 2014












Course Name: Theatre in Practice


Course Description: The course aims to explore theatre in practice in different contexts.

Objectives:




Syllabus 2014

THEATRE IN PRACTICE

Unit 1:

Intervention of eminent theatre personalities – 20 hrs

Unit 2:

Student theatre festival with public performance and documentation – 55 hrs






3. CIA III – A student driven production





1. The Invisible Actor – Peter Brook

2. Encyclopedia of World Drama – John Gassnel

3. The theatre of Bertolt Bracht – John Willet

4. At Work with Grotowski on Physical Actions – Thomas Richard, published by Routledge

5. Games for Actors and Non Actors – Augusto Boal

6. An Actor Prepares - Stanislavsky

DEPARTMENT OF PERFORMING ARTS SYLLABUS 2014-2015 … 14-15.pdf · DEPARTMENT OF PERFORMING ARTS...

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