NCERT Class 9 Arts MCQ Chapter 5 From Vision to Performance: Direction and Acting Solutions English Medium As Per New Syllabus. to each chapter is provided in the list so that you can easily browse through different chapters NCERT Class 9 Arts MCQ Chapter 5 From Vision to Performance: Direction and Acting Notes and select need one. NCERT Class 9 Arts MCQ Chapter 5 From Vision to Performance: Direction and Acting Question Answers Download PDF. NCERT Class 9 Arts Multiple Choice Question Answer.
NCERT Class 9 Arts MCQ Chapter 5 From Vision to Performance: Direction and Acting
Also, you can read the NCERT book online in these sections Solutions by Expert Teachers as per Central Board of Secondary Education (CBSE) Book guidelines. CBSE Class 9 Arts Objective Type Solutions are part of All Subject Solutions. Here we have given NCERT Class 9 Arts Madhurima MCQs, CBSE Class 9 Arts MCQ Questions for All Chapters, You can practice these here.
From Vision to Performance: Direction and Acting
Chapter: 5
| MCQ |
1. Who is at the centre of a play, acting as the guiding vision that shapes how the story looks and feels?
(a) The actor.
(b) The director.
(c) The playwright.
(d) The audience.
Ans: (b) The director.
2. What does the director’s initial script work primarily involve before rehearsals begin?
(a) Buying props and costumes.
(b) Reading the script multiple times to identify themes, emotions, and messages.
(c) Memorizing all the dialogue.
(d) Selling show tickets.
Ans: (b) Reading the script multiple times to identify themes, emotions, and messages.
3. The process of deciding the positions of sets, properties, actors, and their entries and exits is known as what?
(a) Scripting.
(b) Blocking.
(c) Devised theatre.
(d) Scene building.
Ans: (b) Blocking.
4. Why is “stage division” considered crucial in theatre direction?
(a) It dictates the volume of the actors.
(b) It provides a universal, unambiguous vocabulary to avoid miscommunication.
(c) It determines the size of the audience.
(d) It is strictly for the lighting crew.
Ans: (b) It provides a universal, unambiguous vocabulary to avoid miscommunication.
5. In stage division, moving closer to the audience is considered a stronger, attention-grabbing move; what is this area called?
(a) Upstage.
(b) Downstage.
(c) Stage Left.
(d) Apron.
Ans: (b) Downstage.
6. What does “stage balance and composition” achieve in a play?
(a) It ensures the stage doesn’t look empty on one side or crowded on the other.
(b) It balances the financial budget of the play.
(c) It measures the physical weight of the set designs.
(d) It assigns the lead roles to the actors.
Ans: (a) It ensures the stage doesn’t look empty on one side or crowded on the other.
7. Which style of direction focuses on making the stage look and feel like real life, where characters speak naturally?
(a) Abstract direction.
(b) Symbolic direction.
(c) Realistic direction.
(d) Epic Theatre.
Ans: (c) Realistic direction.
8. If a director uses a piece of cloth to represent a mountain or a specific colour of light to show anger, which direction style are they using?
(a) Realistic.
(b) Collaborative.
(c) Abstract or symbolic.
(d) Script-based.
Ans: (c) Abstract or symbolic.
9. In which direction style is the play not based on a fixed script but rather created together by the group during rehearsals?
(a) Script-based direction.
(b) Devised theatre.
(c) Poor theatre.
(d) Method acting.
Ans: (b) Devised theatre.
10. According to the Nāṭyaśhāstra, which pillar of performance involves the use of the body to move and express?
(a) Āhārya.
(b) Āṅgika.
(c) Vāchika.
(d) Sāttvika.
Ans: (b) Āṅgika.
11. Which Nāṭyaśhāstra pillar of performance explores various voice modulations of different styles of characters?
(a) Sāttvika.
(b) Āṅgika.
(c) Vāchika.
(d) Āhārya.
Ans: (c) Vāchika.
12. In Nāṭyaśhāstra, hand props and jewellery used by performers to enhance their show are examples of which performance pillar?
(a) Āhārya.
(b) Vāchika.
(c) Āṅgika.
(d) Sāttvika.
Ans: (a) Āhārya.
13. What does “Sāttvika” refer to in the context of Nāṭyaśhāstra?
(a) Physical gestures.
(b) Speech and tone.
(c) Costume accessories.
(d) The inner experience or rasānubhava of the art.
Ans: (d) The inner experience or rasānubhava of the art.
14. Which traditional theatre art form from Manipur harmoniously blends music, dance, acting, and rituals?
(a) Bhūta-kola.
(b) Teyyam.
(c) Gaura-līlā.
(d) Rammāṇ.
Ans: (c) Gaura-līlā.
15. Bhūta-kola is a divine folk tradition of which state, where local deities and ancestors are worshipped?
(a) Karnataka.
(b) Kerala.
(c) Manipur.
(d) Uttarakhand.
Ans: (a) Karnataka.
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