UPSC Static Quiz – Art and Culture : 1 July 2026

Solution: A

• Statement 1 is incorrect. The Natyashastra, the foundational treatise on Indian performance arts attributed to Bharata Muni, asserts that while entertainment is a desired effect of performance, it is not the primary goal. The primary goal is to evoke Rasa (aesthetic flavour or essence) and transport the spectator into a parallel reality, allowing them to experience the essence of their own consciousness and transcendent values. It is a spiritual and aesthetic experience, not mere entertainment.
• Statement 2 is incorrect. Bhasa is one of the earliest known Sanskrit playwrights, and a key feature of his works is the deviation from the strict rules of the Natyashastra. For example, his plays like Urubhanga depict scenes of physical violence and death on stage, which is explicitly forbidden by the Natyashastra. This deviation is often cited by scholars as evidence of his antiquity, suggesting he may have lived before the Natyashastra was fully codified or was part of a different tradition.
• Statement 3 is correct. Koodiyattam, the traditional Sanskrit theatre form from Kerala, is one of India’s oldest living theatrical traditions. In recognition of its unique heritage and continuous history spanning centuries, it was officially proclaimed by UNESCO in 2001 as a “Masterpiece of the Oral and Intangible Heritage of Humanity,” and was later inscribed on the Representative List in 2008.

Solution: A

• Pair 1 is incorrectly matched. In Bhavai, the traditional theatre of Gujarat, there is a rare synthesis of devotional and romantic sentiments. However, it is Maach of Madhya Pradesh where the dialogues are termed bol. Bhavai is characterized by its narrative dance, where foot movement is a key means of narration, and the use of the musical instrument bhungal.
• Pair 2 is correctly matched. Maach is the traditional theatre form of Madhya Pradesh. A defining characteristic of this form is its musicality. The tunes used in Maach are distinctly known as rangat. Furthermore, the term for dialogue is bol, and the rhyme in the narration is called vanag.

Pair 3 is incorrectly matched. Tamaasha is a traditional folk theatre form of Maharashtra. However, it did not evolve from martial arts. It evolved from other folk forms such as Gondhal, Jagran, and Kirtan. A unique feature of Tamaasha is the central role of the female actress, known as the Murki, who is the chief exponent of dance movements. The folk theatre form with strong martial art links is Theyyam or the martial dances like Kalaripayattu from Kerala.

Solution: A

• Statement 1 is incorrect. This describes the manipulation technique of Bommalattam from Tamil Nadu, not Kathputli. In Bommalattam, the strings are tied to an iron ring that the puppeteer wears on his head. In the traditional Kathputli of Rajasthan, the puppeteers manipulate the strings directly with their fingers, without a supporting prop or crown.
• Statement 2 is incorrect. The shadow puppets of Ravanachhaya are unique because they are made of uncoloured deer skin and are in one piece with no joints. Consequently, they cast opaque, black-and-white shadows, not coloured ones. The puppets that are large, made of treated leather, and cast coloured shadows are characteristic of Tholu Bommalata from Andhra Pradesh.
• Statement 3 is correct. Putul Nautch is the traditional rod puppet form of West Bengal. The puppets, which are about 3 to 4 feet in height, are costumed to resemble the actors of Jatra, the region’s popular traditional theatre form.

Solution: D

• Girish Karnad (A) is a celebrated playwright who often used history and mythology to comment on contemporary issues. His 1964 play Tughlaq (3), which explores the complex and idealistic reign of Sultan Muhammad bin Tughlaq, is considered a classic of modern Indian theatre.
• Badal Sircar (B) was a pioneering figure in experimental and anti-establishment theatre. His play Evam Indrajit (1), written in the 1960s, is a landmark work that captures the angst and existential dilemma of the urban middle class. Sircar is also known for developing the concept of “Third Theatre,” taking performances out of the proscenium into public spaces.
• Vijay Tendulkar (C) was a powerful social commentator whose plays unflinchingly portrayed the violence, hypocrisy, and power dynamics in society. His 1972 play Ghashiram Kotwal (2), set in 18th-century Pune, uses folk forms to deliver a searing critique of political power and moral corruption. It remains one of the most performed Indian plays.
• Habib Tanvir (D) was a key figure in the “Theatre of Roots” movement. His 1975 play Charandas Chor (4), which tells the story of an honest thief, is a masterpiece that was developed with Chhattisgarhi folk artists from his Naya Theatre. It brilliantly blends folk idioms, music, and dialect into a sophisticated theatrical production.

Solution: C

• Statement 1 is correct. The string puppets of Karnataka, known as Gombeyatta, are stylistically linked to Yakshagana, the region’s traditional theatre form. The puppets’ costumes, ornamentation, and overall design mirror those of Yakshagana characters. They are highly articulate, with multiple joints to allow for complex movements, and the themes of the plays are often drawn from Yakshagana narratives.
• Statement 2 is correct. Tholu Bommalata is the shadow puppet theatre of Andhra Pradesh. Its puppets are distinguished by their large size and the fact that they are made of translucent leather which is coloured on both sides. When light is projected through them, they cast vibrant, coloured shadows on the screen. They are also articulated with joints at the waist, shoulders, elbows, and knees, allowing for dynamic movements.
• Statement 3 is correct. Pavakoothu is the traditional glove puppet form of Kerala. Its origins in the 18th century show a clear and strong influence from Kathakali, the classical dance-drama of the region. This influence is visible in the puppets’ elaborate headgear, colourful face paint, and overall decorative style. The themes of the plays are also often drawn from the same epics, the Ramayana and Mahabharata, that form the repertoire of Kathakali.