This is the Vocab24 daily quiz of 2 March 2026, the same 26 questions the app served that day, on the day's vocabulary and editorial. One mark for a right answer, minus 0.25 for a wrong one; the explanation opens as soon as you tap.
Out of the given alternatives select the alternative which best expresses the meaning of given word.
Slothful
Out of the given alternatives select the alternative which best expresses the meaning of given word.
Morass
Out of the given alternatives select the alternative which best expresses the meaning of given word.
Gallant
Out of the given alternatives select the alternative which best expresses the meaning of given word.
Jocund
Out of the given alternatives select the word opposite in meaning to the given word.
Prepossessing
Out of the given alternatives select the word opposite in meaning to the given word.
Risible
Out of the given alternatives select the word opposite in meaning to the given word.
Tortuous
Out of the given alternatives select the word opposite in meaning to the given word.
Unflappable
Out of given alternatives, choose the word which can be substituted for the given words/ sentence.
A complicated or confused situation that is difficult to escape from; also, a swampy area of land.
Out of given alternatives, choose the word which can be substituted for the given words/ sentence.
Brave and heroic; showing polite attention to women.
Out of given alternatives, choose the word which can be substituted for the given words/ sentence.
So absurd or ridiculous that it causes laughter; laughable.
Out of given alternatives, choose the word which can be substituted for the given words/ sentence.
Relating to the countryside; simple and rural in nature.
A statement with one blank is given below. Choose the set of words from the given options which can be used to fill the given blank.
Apart from manufacturing electric and hybrid models, companies are now planning to develop ________driving technology.
Explanation: Meaning of words: Indigenous - Originating naturally in a particular place, Autonomous - having the freedom to govern itself, Manual - Something that requires physical or human effort, Incredible - Extraordinary. <br> With the mention of electric and hybrid models, the second clause mentions about developing autonomous technology.
A statement with one blank is given below. Choose the set of words from the given options which can be used to fill the given blank.
Many people reported ________ noise in the night
Explanation: Reported to have heard shows hearing happened before reporting.
A statement with one blank is given below. Choose the set of words from the given options which can be used to fill the given blank.
We have to plant more trees ________ we can save our environment from the evils of pollution.
Explanation: so that expresses purpose: plant trees so that we can save the environment.
Out of given alternatives select the option which best expresses the meaning of given idiom/ phrase.
The minister took a bird’s eye view of the problem.
Explanation: a bird’s eye view : a view of something from a high position looking down<br> From the top of the church tower you get a splendid bird’s eye view of the village. <br> The best option is a general view from above.
Out of given alternatives select the option which best expresses the meaning of given idiom/ phrase.
He is a fine man, but to call him a saint is laying it on thick.
Explanation: lay it on thick : to talk about somebody/something in a way than they really are; exaggerate<br> Praise them when necessary, but don’t lay it on too thick. <br> The best option is an exaggeration
Out of given alternatives select the option which best expresses the meaning of given idiom/ phrase.
I was taken aback when he proposed to marry my daughter.
Explanation: be taken aback : to be shocked surprised and confused<br> She was completely taken aback by his anger. <br> The best option is shocked
Which of phrases given below each sentence should replace the phrase printed in bold type to make the grammatically correct? If the sentence is correct as it is, mark 'd' as the answer.
Many of the young people (1)/ studying abroad agreed that (2)/ returning home was always (3) / an attractive option (4)/ No error (5)
Explanation: Sentence is correct: subject + clause structure is fine.
Which of phrases given below each sentence should replace the phrase printed in bold type to make the grammatically correct? If the sentence is correct as it is, mark 'd' as the answer.
Despite taking steps to (1)/encourage foreign investment (2)/ there has been any (3)/ substantial improvement In our economy (4)/ No error (5)
Explanation: There has been any is wrong in an affirmative sentence; use some (or make it negative with not…any ).
Which of phrases given below each sentence should replace the phrase printed in bold type to make the grammatically correct? If the sentence is correct as it is, mark 'd' as the answer.
She has been (1)/ complaining about headache (2)/ from morning. /(3) No error (4)
Explanation: For point of time, since (Conj.) is used Hence, since morning is the right usage.
Read the following passage and answer the questions that follow. Some words / phrases are printed in bold in the passage in order to help you locate them while answering some of the questions asked. <br><br><br> Currently showing at the National Gallery of Modern Art (NGMA) is a remarkable exhibition with aprovenance that dates back to 1925. That was the year the exhibition's subject, the legendary Ebrahim Alkazi, was born in Pune into the family of an Arab spice merchant. <br><br> Titled 'The Theatre of E. Alkazi — A Modernist Approach to Indian Theatre', the showcase is a retrospective of the life and works of Alkazi. The driving forces behind it have been his daughter, Amal Allana, a theatre doyenne in her own right, and her husband, the stage designer Nissar Allana. The exhibition continues till later this month, when Alkazi will turn 91. And in a sidelight of curated talks, Allana provides us rare insight into the man single-handedly credited with overhauling the National School of Drama into a legitimate national institution during his long tenure as its director from 1962 to 1977. Of course, before that, Alkazi had an eventful innings in Bombay. Under the aegis of the Theatre Group and the Theatre Unit, he galvanized the English theatre scene in the city. <br><br> The exhibition had its first airing in January at Delhi's Triveni Kala Sangam, where the Alkazi family founded the Art Heritage Gallery in 1977. In this Mumbai outing, the archival material is distributed to the semicircular galleries arranged around the central stairwell at the NGMA. Mock-ups of posters of Alkazi's celebrated productions adorn the walls of the entrance hall. If cinema hadn't swamped popular culture with its excesses, and theatre had been much less niche, some of these imprints could have well been the iconic images of their times. For instance, the stricken countenance of Usha Amin on a poster for Medea (1961), or a fetching Alaknanda Samarth pinned to the floor as a man looms ominously over her in Miss Julie (1960), or Rohini Hattangady conferring with Naseeruddin Shah in pitch-dark make-up in Sultan Razia (1974). The original photographs were, of course, in black and white. In these reconstructions, they are overlaid with anachronistic colors and typefaces that could perhaps warrant a rethink. As with any institutional display, the occasional tackiness doesn't really detract from the substance. Peering closer, the initials of Alkazi's Theatre Unit, arranged into a pitchfork, become an unmistakable monogram of quality. <br><br> Panels emblazoned 'The Alkazi Times' present the signposts of Alkazi's life as news clippings, interspersed with actual microfiche footage — ascensions of kings and Prime Ministers, declarations of war and independence, and even snapshots from theatre history. It is certainly monumental in scale, full of information about Alkazi's genealogy, childhood, education and illustrious career. While there is the slightest whiff of propaganda, it is whittled down by Allana's skills as a self-effacing raconteur during the talks. Her accounts are peppered with heart-warming personal anecdotes that give us a measure of the real person behind the bronzed persona. <br><br> We learn of how Alkazi came to take up the reins of Theatre Group after the untimely passing of Sultan 'Bobby' Padamsee, the young genius who was one of his formative influences. One of their earliest collaborations was Padamsee's version of Oscar Wilde's Salomé. The play was barred from performance at their alma mater, St Xavier's College, because of its risqué material and Wilde's festering notoriety as a gay felon even in India. It was ultimately performed at the very venue that is now housing the exhibition. Allana is thus able to touchingly fashion the showcase as a homecoming soirée. Later, there is a piquant episode at England's Dartington Hall. As a student at the Royal Academy of Dramatic Arts, Alkazi had requested Dartington founder Leonard Elmhirst the princely sum of £4 so to return to India by ship. Elmhirst graciously complied. The letters exchanged still exist, and have been preserved (though they are not part of this exhibit). <br><br> The galleries themselves, chock-a-block with photographs, come across more like a feat of collation than curation. Yet, within this preponderance of imagery, there are stories that can be pieced together. The clarion call of Dharamvir Bharati's Andha Yug (directed by Alkazi in 1962) sounded off from the ramparts of Feroze Shah Kotla changed the manner in which Hindi theatre was presented. Its political echoes found resonance in a country undergoing massive blood-letting. Nehru and his mandarins all attended one of the earliest stagings, and the play placed Alkazi firmly on the national stage. His earlier work, though innovative, appeared to cater to the bourgeoisie. <br><br> In the NSD years, we see a coalescing of a strident western approach to drama with the 'theatre of roots' in India — traditions lying on the cusp of an imminent decrepitude. This amalgamation may have led to the derivative mongrelisation we observe so frequently in today's contemporary theatre. Yet at that time, it must have provided an active ferment for experimentation. <br><br> The photographic stills, it must be said, are mostly posed publicity shots. They capture the calculated repose of a burnished generation of actors, many recognizable faces among them. Some, grainier in texture, but with more character, appear to have been taken mid-performance. The living breathing form, theatre's raison d'être, is almost always absent, raising questions about the kind of archiving that would best serve theatre. In an upstairs gallery, video clips of a Hindi adaptation of Lorca's The House of Bernarda Alba, featuring Zohra Sehgal, are looped in perpetuity. They do provide insight into his working, but are woefully inadequate as a show reel for a man whose career spanned decades. Film, in any case, can never capture the truthfulness of a live form. <br><br> Such a display of theatre royalty comes inextricably linked with the idea of privilege, that of wealth, class or language perhaps, but primarily of pioneer-ship. Being the first off the stumbling blocks with his revolutionary ideas for theatre, Alkazi forged new ground at every step. Certainly, the politics of language added lustre to this glory. The power of English as an aspirational tongue has dimmed somewhat in recent times. Its colonial baggage has hopefully been obliterated. One can only speculate about how much these notions were amplified in the late 40s and 50s in a country just delivered from British rule. <br><br> Yet, the imprimatur of excellence that Alkazi brought to his works does not need to be rationalized to be made sense of. In order to recreate history, it is important to bring together all the elements that went in the making of an epoch. Nissar Allana has recreated miniature facsimiles of sets from Alkazi's plays and of the venues he nurtured himself, like the Meghdoot terrace. These are reproduced assiduously from photographs. In one reconstruction, Macbeth's scope is enhanced in an outdoor set that exudes both Greek grandeur and an artistic sparseness. That those were heady days is an idea one cannot escape from, when we look at how close to penury theatre practitioners operate in these days.
Which among the following can be attributed as the central theme of the passage?
Explanation: According to the passage, the sports administration in India is never treated as a serious matter and everybody holds the position of sports administrator like that of a family property. It requires being professional on the part of the administrators for development of sports in the country.
Read the following passage and answer the questions that follow. Some words / phrases are printed in bold in the passage in order to help you locate them while answering some of the questions asked. <br><br><br> Currently showing at the National Gallery of Modern Art (NGMA) is a remarkable exhibition with aprovenance that dates back to 1925. That was the year the exhibition's subject, the legendary Ebrahim Alkazi, was born in Pune into the family of an Arab spice merchant. <br><br> Titled 'The Theatre of E. Alkazi — A Modernist Approach to Indian Theatre', the showcase is a retrospective of the life and works of Alkazi. The driving forces behind it have been his daughter, Amal Allana, a theatre doyenne in her own right, and her husband, the stage designer Nissar Allana. The exhibition continues till later this month, when Alkazi will turn 91. And in a sidelight of curated talks, Allana provides us rare insight into the man single-handedly credited with overhauling the National School of Drama into a legitimate national institution during his long tenure as its director from 1962 to 1977. Of course, before that, Alkazi had an eventful innings in Bombay. Under the aegis of the Theatre Group and the Theatre Unit, he galvanized the English theatre scene in the city. <br><br> The exhibition had its first airing in January at Delhi's Triveni Kala Sangam, where the Alkazi family founded the Art Heritage Gallery in 1977. In this Mumbai outing, the archival material is distributed to the semicircular galleries arranged around the central stairwell at the NGMA. Mock-ups of posters of Alkazi's celebrated productions adorn the walls of the entrance hall. If cinema hadn't swamped popular culture with its excesses, and theatre had been much less niche, some of these imprints could have well been the iconic images of their times. For instance, the stricken countenance of Usha Amin on a poster for Medea (1961), or a fetching Alaknanda Samarth pinned to the floor as a man looms ominously over her in Miss Julie (1960), or Rohini Hattangady conferring with Naseeruddin Shah in pitch-dark make-up in Sultan Razia (1974). The original photographs were, of course, in black and white. In these reconstructions, they are overlaid with anachronistic colors and typefaces that could perhaps warrant a rethink. As with any institutional display, the occasional tackiness doesn't really detract from the substance. Peering closer, the initials of Alkazi's Theatre Unit, arranged into a pitchfork, become an unmistakable monogram of quality. <br><br> Panels emblazoned 'The Alkazi Times' present the signposts of Alkazi's life as news clippings, interspersed with actual microfiche footage — ascensions of kings and Prime Ministers, declarations of war and independence, and even snapshots from theatre history. It is certainly monumental in scale, full of information about Alkazi's genealogy, childhood, education and illustrious career. While there is the slightest whiff of propaganda, it is whittled down by Allana's skills as a self-effacing raconteur during the talks. Her accounts are peppered with heart-warming personal anecdotes that give us a measure of the real person behind the bronzed persona. <br><br> We learn of how Alkazi came to take up the reins of Theatre Group after the untimely passing of Sultan 'Bobby' Padamsee, the young genius who was one of his formative influences. One of their earliest collaborations was Padamsee's version of Oscar Wilde's Salomé. The play was barred from performance at their alma mater, St Xavier's College, because of its risqué material and Wilde's festering notoriety as a gay felon even in India. It was ultimately performed at the very venue that is now housing the exhibition. Allana is thus able to touchingly fashion the showcase as a homecoming soirée. Later, there is a piquant episode at England's Dartington Hall. As a student at the Royal Academy of Dramatic Arts, Alkazi had requested Dartington founder Leonard Elmhirst the princely sum of £4 so to return to India by ship. Elmhirst graciously complied. The letters exchanged still exist, and have been preserved (though they are not part of this exhibit). <br><br> The galleries themselves, chock-a-block with photographs, come across more like a feat of collation than curation. Yet, within this preponderance of imagery, there are stories that can be pieced together. The clarion call of Dharamvir Bharati's Andha Yug (directed by Alkazi in 1962) sounded off from the ramparts of Feroze Shah Kotla changed the manner in which Hindi theatre was presented. Its political echoes found resonance in a country undergoing massive blood-letting. Nehru and his mandarins all attended one of the earliest stagings, and the play placed Alkazi firmly on the national stage. His earlier work, though innovative, appeared to cater to the bourgeoisie. <br><br> In the NSD years, we see a coalescing of a strident western approach to drama with the 'theatre of roots' in India — traditions lying on the cusp of an imminent decrepitude. This amalgamation may have led to the derivative mongrelisation we observe so frequently in today's contemporary theatre. Yet at that time, it must have provided an active ferment for experimentation. <br><br> The photographic stills, it must be said, are mostly posed publicity shots. They capture the calculated repose of a burnished generation of actors, many recognizable faces among them. Some, grainier in texture, but with more character, appear to have been taken mid-performance. The living breathing form, theatre's raison d'être, is almost always absent, raising questions about the kind of archiving that would best serve theatre. In an upstairs gallery, video clips of a Hindi adaptation of Lorca's The House of Bernarda Alba, featuring Zohra Sehgal, are looped in perpetuity. They do provide insight into his working, but are woefully inadequate as a show reel for a man whose career spanned decades. Film, in any case, can never capture the truthfulness of a live form. <br><br> Such a display of theatre royalty comes inextricably linked with the idea of privilege, that of wealth, class or language perhaps, but primarily of pioneer-ship. Being the first off the stumbling blocks with his revolutionary ideas for theatre, Alkazi forged new ground at every step. Certainly, the politics of language added lustre to this glory. The power of English as an aspirational tongue has dimmed somewhat in recent times. Its colonial baggage has hopefully been obliterated. One can only speculate about how much these notions were amplified in the late 40s and 50s in a country just delivered from British rule. <br><br> Yet, the imprimatur of excellence that Alkazi brought to his works does not need to be rationalized to be made sense of. In order to recreate history, it is important to bring together all the elements that went in the making of an epoch. Nissar Allana has recreated miniature facsimiles of sets from Alkazi's plays and of the venues he nurtured himself, like the Meghdoot terrace. These are reproduced assiduously from photographs. In one reconstruction, Macbeth's scope is enhanced in an outdoor set that exudes both Greek grandeur and an artistic sparseness. That those were heady days is an idea one cannot escape from, when we look at how close to penury theatre practitioners operate in these days.
Which among the following does not contradict the view of the author regarding the solution to the current problem of sports administration in India? <br><br> A. The sports fraternity should be made administrators as they understand the game the best<br> B. The sports ministry should be disbanded since there should be no government interference in sports in our country<br> C. Sports management should be made a professional subject in the academic curriculum of the country
Explanation: According to the passage, the author wants professionalism in sports management in our country. <br> That makes the option b the only right choice among the given options since it talks about making sports management a professional course in our country
Read the following passage and answer the questions that follow. Some words / phrases are printed in bold in the passage in order to help you locate them while answering some of the questions asked. <br><br><br> Currently showing at the National Gallery of Modern Art (NGMA) is a remarkable exhibition with aprovenance that dates back to 1925. That was the year the exhibition's subject, the legendary Ebrahim Alkazi, was born in Pune into the family of an Arab spice merchant. <br><br> Titled 'The Theatre of E. Alkazi — A Modernist Approach to Indian Theatre', the showcase is a retrospective of the life and works of Alkazi. The driving forces behind it have been his daughter, Amal Allana, a theatre doyenne in her own right, and her husband, the stage designer Nissar Allana. The exhibition continues till later this month, when Alkazi will turn 91. And in a sidelight of curated talks, Allana provides us rare insight into the man single-handedly credited with overhauling the National School of Drama into a legitimate national institution during his long tenure as its director from 1962 to 1977. Of course, before that, Alkazi had an eventful innings in Bombay. Under the aegis of the Theatre Group and the Theatre Unit, he galvanized the English theatre scene in the city. <br><br> The exhibition had its first airing in January at Delhi's Triveni Kala Sangam, where the Alkazi family founded the Art Heritage Gallery in 1977. In this Mumbai outing, the archival material is distributed to the semicircular galleries arranged around the central stairwell at the NGMA. Mock-ups of posters of Alkazi's celebrated productions adorn the walls of the entrance hall. If cinema hadn't swamped popular culture with its excesses, and theatre had been much less niche, some of these imprints could have well been the iconic images of their times. For instance, the stricken countenance of Usha Amin on a poster for Medea (1961), or a fetching Alaknanda Samarth pinned to the floor as a man looms ominously over her in Miss Julie (1960), or Rohini Hattangady conferring with Naseeruddin Shah in pitch-dark make-up in Sultan Razia (1974). The original photographs were, of course, in black and white. In these reconstructions, they are overlaid with anachronistic colors and typefaces that could perhaps warrant a rethink. As with any institutional display, the occasional tackiness doesn't really detract from the substance. Peering closer, the initials of Alkazi's Theatre Unit, arranged into a pitchfork, become an unmistakable monogram of quality. <br><br> Panels emblazoned 'The Alkazi Times' present the signposts of Alkazi's life as news clippings, interspersed with actual microfiche footage — ascensions of kings and Prime Ministers, declarations of war and independence, and even snapshots from theatre history. It is certainly monumental in scale, full of information about Alkazi's genealogy, childhood, education and illustrious career. While there is the slightest whiff of propaganda, it is whittled down by Allana's skills as a self-effacing raconteur during the talks. Her accounts are peppered with heart-warming personal anecdotes that give us a measure of the real person behind the bronzed persona. <br><br> We learn of how Alkazi came to take up the reins of Theatre Group after the untimely passing of Sultan 'Bobby' Padamsee, the young genius who was one of his formative influences. One of their earliest collaborations was Padamsee's version of Oscar Wilde's Salomé. The play was barred from performance at their alma mater, St Xavier's College, because of its risqué material and Wilde's festering notoriety as a gay felon even in India. It was ultimately performed at the very venue that is now housing the exhibition. Allana is thus able to touchingly fashion the showcase as a homecoming soirée. Later, there is a piquant episode at England's Dartington Hall. As a student at the Royal Academy of Dramatic Arts, Alkazi had requested Dartington founder Leonard Elmhirst the princely sum of £4 so to return to India by ship. Elmhirst graciously complied. The letters exchanged still exist, and have been preserved (though they are not part of this exhibit). <br><br> The galleries themselves, chock-a-block with photographs, come across more like a feat of collation than curation. Yet, within this preponderance of imagery, there are stories that can be pieced together. The clarion call of Dharamvir Bharati's Andha Yug (directed by Alkazi in 1962) sounded off from the ramparts of Feroze Shah Kotla changed the manner in which Hindi theatre was presented. Its political echoes found resonance in a country undergoing massive blood-letting. Nehru and his mandarins all attended one of the earliest stagings, and the play placed Alkazi firmly on the national stage. His earlier work, though innovative, appeared to cater to the bourgeoisie. <br><br> In the NSD years, we see a coalescing of a strident western approach to drama with the 'theatre of roots' in India — traditions lying on the cusp of an imminent decrepitude. This amalgamation may have led to the derivative mongrelisation we observe so frequently in today's contemporary theatre. Yet at that time, it must have provided an active ferment for experimentation. <br><br> The photographic stills, it must be said, are mostly posed publicity shots. They capture the calculated repose of a burnished generation of actors, many recognizable faces among them. Some, grainier in texture, but with more character, appear to have been taken mid-performance. The living breathing form, theatre's raison d'être, is almost always absent, raising questions about the kind of archiving that would best serve theatre. In an upstairs gallery, video clips of a Hindi adaptation of Lorca's The House of Bernarda Alba, featuring Zohra Sehgal, are looped in perpetuity. They do provide insight into his working, but are woefully inadequate as a show reel for a man whose career spanned decades. Film, in any case, can never capture the truthfulness of a live form. <br><br> Such a display of theatre royalty comes inextricably linked with the idea of privilege, that of wealth, class or language perhaps, but primarily of pioneer-ship. Being the first off the stumbling blocks with his revolutionary ideas for theatre, Alkazi forged new ground at every step. Certainly, the politics of language added lustre to this glory. The power of English as an aspirational tongue has dimmed somewhat in recent times. Its colonial baggage has hopefully been obliterated. One can only speculate about how much these notions were amplified in the late 40s and 50s in a country just delivered from British rule. <br><br> Yet, the imprimatur of excellence that Alkazi brought to his works does not need to be rationalized to be made sense of. In order to recreate history, it is important to bring together all the elements that went in the making of an epoch. Nissar Allana has recreated miniature facsimiles of sets from Alkazi's plays and of the venues he nurtured himself, like the Meghdoot terrace. These are reproduced assiduously from photographs. In one reconstruction, Macbeth's scope is enhanced in an outdoor set that exudes both Greek grandeur and an artistic sparseness. That those were heady days is an idea one cannot escape from, when we look at how close to penury theatre practitioners operate in these days.
Which among the following is the main problem of sports management in our country according to the passage? <br><br> A. The sports administration in our country is only attentive to a certain number of games. <br> B. The sports administration does not understand the welfare of the game but is only interested in serving themselves. <br> C. The sports administration is negligent about the sports they are heading and does not even have any long term planning.
Explanation: According to the passage, the sports administration in the country thinks about the welfare of themselves and is not at all interested in the welfare of the game. The second thing is that these administrators do not ever want to leave their posts though they are honorary posts. <br> These make option (a) the right choice among the given options.
Read the following passage and answer the questions that follow. Some words / phrases are printed in bold in the passage in order to help you locate them while answering some of the questions asked. <br><br><br> Currently showing at the National Gallery of Modern Art (NGMA) is a remarkable exhibition with aprovenance that dates back to 1925. That was the year the exhibition's subject, the legendary Ebrahim Alkazi, was born in Pune into the family of an Arab spice merchant. <br><br> Titled 'The Theatre of E. Alkazi — A Modernist Approach to Indian Theatre', the showcase is a retrospective of the life and works of Alkazi. The driving forces behind it have been his daughter, Amal Allana, a theatre doyenne in her own right, and her husband, the stage designer Nissar Allana. The exhibition continues till later this month, when Alkazi will turn 91. And in a sidelight of curated talks, Allana provides us rare insight into the man single-handedly credited with overhauling the National School of Drama into a legitimate national institution during his long tenure as its director from 1962 to 1977. Of course, before that, Alkazi had an eventful innings in Bombay. Under the aegis of the Theatre Group and the Theatre Unit, he galvanized the English theatre scene in the city. <br><br> The exhibition had its first airing in January at Delhi's Triveni Kala Sangam, where the Alkazi family founded the Art Heritage Gallery in 1977. In this Mumbai outing, the archival material is distributed to the semicircular galleries arranged around the central stairwell at the NGMA. Mock-ups of posters of Alkazi's celebrated productions adorn the walls of the entrance hall. If cinema hadn't swamped popular culture with its excesses, and theatre had been much less niche, some of these imprints could have well been the iconic images of their times. For instance, the stricken countenance of Usha Amin on a poster for Medea (1961), or a fetching Alaknanda Samarth pinned to the floor as a man looms ominously over her in Miss Julie (1960), or Rohini Hattangady conferring with Naseeruddin Shah in pitch-dark make-up in Sultan Razia (1974). The original photographs were, of course, in black and white. In these reconstructions, they are overlaid with anachronistic colors and typefaces that could perhaps warrant a rethink. As with any institutional display, the occasional tackiness doesn't really detract from the substance. Peering closer, the initials of Alkazi's Theatre Unit, arranged into a pitchfork, become an unmistakable monogram of quality. <br><br> Panels emblazoned 'The Alkazi Times' present the signposts of Alkazi's life as news clippings, interspersed with actual microfiche footage — ascensions of kings and Prime Ministers, declarations of war and independence, and even snapshots from theatre history. It is certainly monumental in scale, full of information about Alkazi's genealogy, childhood, education and illustrious career. While there is the slightest whiff of propaganda, it is whittled down by Allana's skills as a self-effacing raconteur during the talks. Her accounts are peppered with heart-warming personal anecdotes that give us a measure of the real person behind the bronzed persona. <br><br> We learn of how Alkazi came to take up the reins of Theatre Group after the untimely passing of Sultan 'Bobby' Padamsee, the young genius who was one of his formative influences. One of their earliest collaborations was Padamsee's version of Oscar Wilde's Salomé. The play was barred from performance at their alma mater, St Xavier's College, because of its risqué material and Wilde's festering notoriety as a gay felon even in India. It was ultimately performed at the very venue that is now housing the exhibition. Allana is thus able to touchingly fashion the showcase as a homecoming soirée. Later, there is a piquant episode at England's Dartington Hall. As a student at the Royal Academy of Dramatic Arts, Alkazi had requested Dartington founder Leonard Elmhirst the princely sum of £4 so to return to India by ship. Elmhirst graciously complied. The letters exchanged still exist, and have been preserved (though they are not part of this exhibit). <br><br> The galleries themselves, chock-a-block with photographs, come across more like a feat of collation than curation. Yet, within this preponderance of imagery, there are stories that can be pieced together. The clarion call of Dharamvir Bharati's Andha Yug (directed by Alkazi in 1962) sounded off from the ramparts of Feroze Shah Kotla changed the manner in which Hindi theatre was presented. Its political echoes found resonance in a country undergoing massive blood-letting. Nehru and his mandarins all attended one of the earliest stagings, and the play placed Alkazi firmly on the national stage. His earlier work, though innovative, appeared to cater to the bourgeoisie. <br><br> In the NSD years, we see a coalescing of a strident western approach to drama with the 'theatre of roots' in India — traditions lying on the cusp of an imminent decrepitude. This amalgamation may have led to the derivative mongrelisation we observe so frequently in today's contemporary theatre. Yet at that time, it must have provided an active ferment for experimentation. <br><br> The photographic stills, it must be said, are mostly posed publicity shots. They capture the calculated repose of a burnished generation of actors, many recognizable faces among them. Some, grainier in texture, but with more character, appear to have been taken mid-performance. The living breathing form, theatre's raison d'être, is almost always absent, raising questions about the kind of archiving that would best serve theatre. In an upstairs gallery, video clips of a Hindi adaptation of Lorca's The House of Bernarda Alba, featuring Zohra Sehgal, are looped in perpetuity. They do provide insight into his working, but are woefully inadequate as a show reel for a man whose career spanned decades. Film, in any case, can never capture the truthfulness of a live form. <br><br> Such a display of theatre royalty comes inextricably linked with the idea of privilege, that of wealth, class or language perhaps, but primarily of pioneer-ship. Being the first off the stumbling blocks with his revolutionary ideas for theatre, Alkazi forged new ground at every step. Certainly, the politics of language added lustre to this glory. The power of English as an aspirational tongue has dimmed somewhat in recent times. Its colonial baggage has hopefully been obliterated. One can only speculate about how much these notions were amplified in the late 40s and 50s in a country just delivered from British rule. <br><br> Yet, the imprimatur of excellence that Alkazi brought to his works does not need to be rationalized to be made sense of. In order to recreate history, it is important to bring together all the elements that went in the making of an epoch. Nissar Allana has recreated miniature facsimiles of sets from Alkazi's plays and of the venues he nurtured himself, like the Meghdoot terrace. These are reproduced assiduously from photographs. In one reconstruction, Macbeth's scope is enhanced in an outdoor set that exudes both Greek grandeur and an artistic sparseness. That those were heady days is an idea one cannot escape from, when we look at how close to penury theatre practitioners operate in these days.
Which among the following is NOT TRUE in the context of the passage?
Explanation: According to the passage, the sports administrators are not at all poor in our country through the posts are honorary in any organization in our country relating to sports. <br> BCCI is the wealthiest sports body in any country. The second point is that there is no mention of any political connection of the administrators in our country. <br> Those make option (e) the right choice among the given options.
Read the following passage and answer the questions that follow. Some words / phrases are printed in bold in the passage in order to help you locate them while answering some of the questions asked. <br><br><br> Currently showing at the National Gallery of Modern Art (NGMA) is a remarkable exhibition with aprovenance that dates back to 1925. That was the year the exhibition's subject, the legendary Ebrahim Alkazi, was born in Pune into the family of an Arab spice merchant. <br><br> Titled 'The Theatre of E. Alkazi — A Modernist Approach to Indian Theatre', the showcase is a retrospective of the life and works of Alkazi. The driving forces behind it have been his daughter, Amal Allana, a theatre doyenne in her own right, and her husband, the stage designer Nissar Allana. The exhibition continues till later this month, when Alkazi will turn 91. And in a sidelight of curated talks, Allana provides us rare insight into the man single-handedly credited with overhauling the National School of Drama into a legitimate national institution during his long tenure as its director from 1962 to 1977. Of course, before that, Alkazi had an eventful innings in Bombay. Under the aegis of the Theatre Group and the Theatre Unit, he galvanized the English theatre scene in the city. <br><br> The exhibition had its first airing in January at Delhi's Triveni Kala Sangam, where the Alkazi family founded the Art Heritage Gallery in 1977. In this Mumbai outing, the archival material is distributed to the semicircular galleries arranged around the central stairwell at the NGMA. Mock-ups of posters of Alkazi's celebrated productions adorn the walls of the entrance hall. If cinema hadn't swamped popular culture with its excesses, and theatre had been much less niche, some of these imprints could have well been the iconic images of their times. For instance, the stricken countenance of Usha Amin on a poster for Medea (1961), or a fetching Alaknanda Samarth pinned to the floor as a man looms ominously over her in Miss Julie (1960), or Rohini Hattangady conferring with Naseeruddin Shah in pitch-dark make-up in Sultan Razia (1974). The original photographs were, of course, in black and white. In these reconstructions, they are overlaid with anachronistic colors and typefaces that could perhaps warrant a rethink. As with any institutional display, the occasional tackiness doesn't really detract from the substance. Peering closer, the initials of Alkazi's Theatre Unit, arranged into a pitchfork, become an unmistakable monogram of quality. <br><br> Panels emblazoned 'The Alkazi Times' present the signposts of Alkazi's life as news clippings, interspersed with actual microfiche footage — ascensions of kings and Prime Ministers, declarations of war and independence, and even snapshots from theatre history. It is certainly monumental in scale, full of information about Alkazi's genealogy, childhood, education and illustrious career. While there is the slightest whiff of propaganda, it is whittled down by Allana's skills as a self-effacing raconteur during the talks. Her accounts are peppered with heart-warming personal anecdotes that give us a measure of the real person behind the bronzed persona. <br><br> We learn of how Alkazi came to take up the reins of Theatre Group after the untimely passing of Sultan 'Bobby' Padamsee, the young genius who was one of his formative influences. One of their earliest collaborations was Padamsee's version of Oscar Wilde's Salomé. The play was barred from performance at their alma mater, St Xavier's College, because of its risqué material and Wilde's festering notoriety as a gay felon even in India. It was ultimately performed at the very venue that is now housing the exhibition. Allana is thus able to touchingly fashion the showcase as a homecoming soirée. Later, there is a piquant episode at England's Dartington Hall. As a student at the Royal Academy of Dramatic Arts, Alkazi had requested Dartington founder Leonard Elmhirst the princely sum of £4 so to return to India by ship. Elmhirst graciously complied. The letters exchanged still exist, and have been preserved (though they are not part of this exhibit). <br><br> The galleries themselves, chock-a-block with photographs, come across more like a feat of collation than curation. Yet, within this preponderance of imagery, there are stories that can be pieced together. The clarion call of Dharamvir Bharati's Andha Yug (directed by Alkazi in 1962) sounded off from the ramparts of Feroze Shah Kotla changed the manner in which Hindi theatre was presented. Its political echoes found resonance in a country undergoing massive blood-letting. Nehru and his mandarins all attended one of the earliest stagings, and the play placed Alkazi firmly on the national stage. His earlier work, though innovative, appeared to cater to the bourgeoisie. <br><br> In the NSD years, we see a coalescing of a strident western approach to drama with the 'theatre of roots' in India — traditions lying on the cusp of an imminent decrepitude. This amalgamation may have led to the derivative mongrelisation we observe so frequently in today's contemporary theatre. Yet at that time, it must have provided an active ferment for experimentation. <br><br> The photographic stills, it must be said, are mostly posed publicity shots. They capture the calculated repose of a burnished generation of actors, many recognizable faces among them. Some, grainier in texture, but with more character, appear to have been taken mid-performance. The living breathing form, theatre's raison d'être, is almost always absent, raising questions about the kind of archiving that would best serve theatre. In an upstairs gallery, video clips of a Hindi adaptation of Lorca's The House of Bernarda Alba, featuring Zohra Sehgal, are looped in perpetuity. They do provide insight into his working, but are woefully inadequate as a show reel for a man whose career spanned decades. Film, in any case, can never capture the truthfulness of a live form. <br><br> Such a display of theatre royalty comes inextricably linked with the idea of privilege, that of wealth, class or language perhaps, but primarily of pioneer-ship. Being the first off the stumbling blocks with his revolutionary ideas for theatre, Alkazi forged new ground at every step. Certainly, the politics of language added lustre to this glory. The power of English as an aspirational tongue has dimmed somewhat in recent times. Its colonial baggage has hopefully been obliterated. One can only speculate about how much these notions were amplified in the late 40s and 50s in a country just delivered from British rule. <br><br> Yet, the imprimatur of excellence that Alkazi brought to his works does not need to be rationalized to be made sense of. In order to recreate history, it is important to bring together all the elements that went in the making of an epoch. Nissar Allana has recreated miniature facsimiles of sets from Alkazi's plays and of the venues he nurtured himself, like the Meghdoot terrace. These are reproduced assiduously from photographs. In one reconstruction, Macbeth's scope is enhanced in an outdoor set that exudes both Greek grandeur and an artistic sparseness. That those were heady days is an idea one cannot escape from, when we look at how close to penury theatre practitioners operate in these days.
Which among the following can be a title for the passage apart from the given one?
Explanation: According to the given passage, the sports administration in our country needs to be more professional in order to make sports the most important thing regarding sports administration in our country. <br> Option (b) describes that and that is why it is the right option among the given options.
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