1. The Greek term for the “carrier of the action” in a tragedy is
2. The purging or cleansing of the audience’s pity and terror at the climax of a tragedy
3. In play construction the single action that initiates the major conflict of the play si called the
4. Which element describes the play’s use of rhythm and sounds, either by way of instrumental composition or the orchestration of such noises as muffled drumbeats, gunshots, special effects, and vocal tones?
5. The practice of dividing plays genre is
[always subjective because each play is unique]
6. In a greek play the lead character that moves the action forward is opposed to a figure called the antagonist
7. In greek tragedy the central character
[Undergoes a change that leads to his or her demise]
8. Which of the following does not describe the character of a tragic hero
[Allows the gods to decide his fate]
9. Which element of drama refers not only to the pronunciation of spoken dialogue but also to the literary nature of the play’s text, including its tone, imagery, articulation, and use of such literary forms as verse, rhyme, metaphor, jest, apostrophe, and epigram?
10. Theater is a thing, not an event
11. According to Eric Bentley, farce allows us to experience social taboos (i.e. violence without harm or brutality without reprisal) without consequence.
12. Which dramatic genre purports to be serious but, in fact, deals with human issues on only the most superficial level, embellished with spectacular staging, flamboyant dialogue, and highly suspenseful and contrived plotting?
13. The Greek philosopher Sophicles wrote the poetics in 335 BC
14. The audience is not a part of the definition of conventions of a theatre
15. Match the following parallels between theatre and life
[B. REHEARSAL – LEARNING
C. STAGE – WORLD
D. SIMULATION – REALITY
E. IMPROVISATION – SPONTANEITY
F. AUDIENCES – SOCIETY]
16. The theaters audiences are co-creators of the theatrical event
17. The word theatre comes from the greek theatron which means
18. Adult plays and children’s games share the ability to help develop means of coping with life’s challenges and uncertainties.
19. Which of the following is the lease correct regarding the meaning of the theatre
20. The english word for person comes from the latin word
21. How does a theatrical performance differ from a video or a filmed performance
[A. THE THEATRICAL PERFORMANCE IS LIVE, WITH THE AUDIENCE AND PERFORMERS, WHO ARE AWARE OF EACH OTHER AND MUTUALLY INTERACT IN THEIR SHARED PRESENCE.]
22. Like viewers of television drama and movie-house films, theatre audiences assume an essentially one-on-one relationship with what is being viewed and do not communicate with other viewers.
23. Although the names and allocations of craft functions such as directing, producing, designing, and stage managing have changed over the course of the theatre’s history, the functions themselves have remained fairly constant.
24. Although films are recorded, we perceive them as having a greater immediacy than theatre due to the fact that plays are rehearsed and repeated
25. While both theatre and sport are public spectacles, theatre differs from sports activities because
[Theatre has a pre-ordained ending]
26. Representational performance is similar to stand up comedy
27. Theatre performances can elicit the audience’s participation by arousing the audience the feeling of empathy
28. Drama comes from the greek dran which means
29. The advantages of live performance include its two-way communication between audience and actors, unification of group responses, and live immediacy which makes every show novel and different.
30. Beginning with the most important, order the components of a play as listed by Aristotle as identified in the textbook.
pA. PLOT, CHARACTER. THEME, DICTION, MUSIC, SPECTACLE[
31. The distinctive feature of theatre, which separates it from other arts, is that theatre employs
32. Which of the following is true of the relationship between the play script and the performance
[A. THE SCRIPT IS A SILHOUETTE OR OUTLINE OF THE PLAY ITSELF, WHICH FULLY EXISTS IN PERFORMANCE ONLY]
33. IN THE ANCIENT Greek theatre what physical and symbolic element separated the actors from the audience
[The actors wore masks]
34. Which of the following is generally true about the differences between tragedy and comedy?
[A. TRAGEDY TYPICALLY DEALS WITH GREAT PEOPLE, WHEREAS COMEDY DEALS WITH ORDINARY PEOPLE.]
35. Which dramatic genre offers a wild, hilarious treatment of a trivial theme, usually based on a stock component like identical twins, switched identities, lovers in closets, and might include full-stage chases, misheard instructions, various disrobings, discoveries, and disappearances
36. A central character in any type of drama is called the tragic hero
37. The agreement between the audience and the actor, which includes a whole set of tacit understandings that form the context of playwatching, is called
38. The element of ___ refers to the visual aspects of the stage
39. When a playwright has managed to make every scene, incident, character, and word deliver an impact, he or she has satisfied the dramatic demand for
40. A linear plot proceeds by
[A. THE POINT-TO-POINT STORYTELLING OF EVENTS LINKED IN CHRONOLOGICAL, CAUSE-EFFECT CONTINUITY.]
41. This playwright speaks of “two selves, the public and private self, the worlds that people juggle a lot of time just from being out there in the world,” and whose works, such as Wrecks, reflect this statement.
42. There is a set formula for playwriting
43. Playwright refers to
[A person who constructs and composes a play as a wheelwright makes a wheel]
44. According to the lecture there are seven qualities of a fine play. __________ is defined as the staged world being internally consistent and compelling
[Credibility and Intrigue]
45. One difference between the playwright in shakespeare’s time and the contemporary playwright is that
[A. THE PLAYWRIGHT NO LONGER FUNCTIONS AS A DIRECTOR BUT IS NOW CONSIDERED AN INDEPENDENT ARTIST.]
46. A play that deals with an issue of serious and lasting significance in humanity’s spiritual or intellectual life beyond the mere attempt to imitate profundity is said to possess
47. Which of the following is the most accurate statement of the audience’s response to the drama?
[A. INTRIGUE DRAWS US INTO THE WORLD OF THE PLAY; CREDIBILITY KEEPS US THERE.]
48. According to the lecture there are seven qualities of a fine play. _______, is defined as relevance of theme to concerns of audience and current events
[Gravity and pertinence]
49. Which New York-born, Louisiana-raised, playwright (b. 1956) wrote a masterpiece of modern drama, Angels in America, which deals with the AIDS crisis, sexuality, gender, and politics?
50. Information about antecedent action is called
51. All of the following are signs of good characterization except
[A. THE CHARACTER APPEARS AS A PAWN IN THE PLAYWRIGHT’S GRAND DESIGN AND EXISTS ONLY TO SYMBOLIZE SOMETHING.]
52. The playwright’s skill at condensing a story that may span many days or years of chronological time into a theatrical time frame is called
53. The quality of a play that creates suspend by making us wonder what will happen next is called curiosity
54. The alienation effect exemplifies the work of the playwright
55. Match the playwright to the proper play
[A. PAULA VOGEL – HOW I LEARNED TO DRIVE
B. LORRAINE HANSBERRY – A RAISIN IN THE SUN
C. AUGUST WILSON – MA RANEY’S BLACK BOTTOM
D. DAVID HENRY HWANG – BUTTERFLY
E. NILO CRUZ – ANNA IN THE TROPICS
F. LYNN NOTTAGE – RUINED
G. DAVID MARNET – GLENGARRY GLEN ROSS
H. TONY KUSHNER – ANGELS IN AMERICA]
56. Practical Aesthetics is a form of actor training by
[David Marnet and William H Macy]
57. Which two writers best exemplify the range of difference between external and internal approaches to assuming the character
[Diderot and Stanislavasky]
58. The major psychological component of the actors instrument is the unconscious
59. The mid twentieth century saw an emphasis on reality and inter emotion life in the theatre
60. In his first published work Stanislavasky states that the prime task of the actors is to create the
[Inner life of the character]
61. Discipline refers to the strictness and decorum with which the actor converses with the director
62. The type of performing that asks the actor to enter the mind of the character being played is
63. The three major stages of the “actor’s routine” are acquiring an agent, rehearsing a role, and performing a role.
64. The method
[A. AN AMERICAN ACTING STYLE DERIVED FROM THE RUSSIAN ACTOR-DIRECTOR KONSTANTIN STANISLAVSKY’S SELF-PROCLAIMED SYSTEM]
64. Who maintained that the actor should be “an unmoved and disinterested onlooker” and imitate emotion rather than feel it?
65. Konstantin Stanislavsky, founder of the Moscow Art Theatre (1898), said “You must live the life of your character on stage.” Which style of acting does this statement describe most closely
[The representational mode of acting]
66. The actors instrument is his or her
67. Funndamental notions of acting
[representational and presentational]
68. Great acting must transient mere technique or training and elevate into something higher
69. An expressive voice and a solid education in literature are the two components of gaining an actors instrument
70. Viewpoints is a form of acting created by
[Mart Overlie and Ann Bogart]
71. According to the lecture there are 7 qualities of a fine play. __________ is defined as the condensation of story, consolidation of event, and uniqueness of moments.
[Compression, Economy, and intensity]
72. Which playwright demonstrates a commitment to issues global human rights, as shown in Ruined?
73. Which playwright has branched out into writing librettos and adaptations of musicals for shows such as Aida andTarzan?
74. According to the lecture there are seven qualities of a fine play. __________ is defined as words and actions having maximum impact when staged.
[Stageability speakability and flow]
75. 2 fundamental tools a playwright works with
[Dialogue and physcal action]
76. A play attains finished form only in performance
77. Which of the following does the director NOT typically look for in an audition?
[A. PERSONAL HISTORY THAT EXACTLY MATCHES THAT OF THE CHARACTER]
78. Which faculty keeps the actor within established bounds and at the same time ensures artistic agility?
79. As a response against Stanislavsky’s realism, the director Vsevolod Meyerhold evolved a theatre of “biomechanical constructivism” in Moscow.
80. How did the eighteenth and nineteenth centuries’ emphasis on rationalism influence the director’s role?
[The demand for historical accuracy required the director to conduct comprehensive research, organization, and coordination.]
81. Which statement best describes the end of the directors involvement with the play
[The director may still change aspects of the play during previews or the run, but primarily has given over responsibility to the audience.]
82. A director should possess all of the following except
[a capable voice and an athletic physique, both which comprise the actor’s instrument.]
83. Which person is responsible for the financial support of the production and, working closely with the director, also contributes to many “directorial” decisions in the production process?
84. A great directorial concept has the qualities of being generalized, well-established by tradition, intellectually relaxing, designer-oriented, and readily apparent.
85. This historic phase of the director passed on knowledge of “correct” technique.
86. As i traverse the stage in a direction away from the audience I am traveling ___
87. This directors assistant is responsible for compiling the prompt book
88. Which does not seek in a designer director collaboration
89. The “preplanned approach” is where the director and the actors work together to develop the movements and actions of the play.
90. The rhythm of a production sometimes confused with the speed to the actors delivery is called
91. What is meant by the concept of a play
[Directors central idea which focuses on his or her interpretation]
92. A producer may be an individual, such as an artistic director, or a partnership of individuals, such as a committee.
93. The initial shows where a director can evaluate the production in terms of audience response and institute new changes are known as
94. Which of the following tasks belong to the director
[conceptualizing the play and giving it vision and purpose]
95. The director’s work with the designers is generally suggestive and corrective, rather than overtly controlling.
96. The timing and placement of a character’s entrances, exits, crosses, embraces, and other major movements is called
97. Which of the following is true of stylizing directors?
[They are unrestrained by rigid formulas with respect to verisimilitude or realistic behavior.]
98. Small-scale movement on the stage, which an actor performs within the larger pattern of entrances and exits, is called
99. Romes greatest contribution to the theatre was
[their architecture of the theatre space]
100. The most comprehensive and detailed theatrical treatise of the ancient world, detailing analyses of dramatic texts, the theatre building, acting, staging, music, and even theatre-company organization, is
[the Sanskrit Natyasastra, or “treatise on theatre”]
101. The primary foundations of theatre are ritual and dancing
102. Which of the following can not be said of Shakespeare
[He wrote only for the court of Elizabeth I]
103. The work of Shakespeare and Ben Jonson in England and Machiavelli and commedia dell’arte in Italy are all examples of Renaissance theatre.
104. Which of the following is true of theatre in Asia
[A diverse tradition exists in asian theatre]
105. Performers in chinese opera are adept at singing, speech, acting, and acrobatics
106. The central creed of the romantic theatre was
107. Dithyrambos was
[an ancient, drunken, dance-chant fertility ritual that celebrated the birth of the wine god.]
108. The renaissance was characterized by which of the following
[A renewed interest in classical civilization]
109. Which drama, whose name means “storyplay,” originated in rural villages in the province of Kerala in the seventeenth century and is based on any of thousands of stories from two great Indian epics, the Ramayana and the Mahabharata?
110. Which of the following is not true of the greek chorus
[it offered individual the opportunity to voice personal opinions]
111. Kabuki is mianly a directors theatre
112. Plays of the royal theatre era are characterized by
113. The royal era was characterized by the aristocracy support of the public theaters such as the globe theatre
114. A theatrical mansion is
[a temporarily crafted stage piece that was set up in a public square and then moved about from day to day.]
115. Aeschylus, Sophocles, and Euripides are the three masters of Greek tragedy.
116. Ancient Egypt’s Abydos Passion Play and other texts of that time employed plot elements that indicate they derived from even more ancient
[ritualized reenactments of the coming of spring and celebration of rebirth.]
117. In Mandarin, Chinese Opera is called xiqu, which means
118. The ancient Greek god of fertility, wine, agriculture, and sexuality was