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Name: _________________________ | Period: ___________________ |
This test consists of 15 multiple choice questions and 5 short answer questions.
Multiple Choice Questions
1. Brook claims, "Personally, I find staging _______ can be more thoroughly enjoyable than any other form of theatre."
(a) A musical.
(b) A Surrealist production.
(c) A mime show.
(d) An opera.
2. What is the "lie" that the secret patronage of going to the theatre is?
(a) That the honor is privilege.
(b) That the gift is worth receiving.
(c) That the truth is waiting.
(d) That it will be bad.
3. The sort of play that Shakespeare offers us is never just what?
(a) A Rough play.
(b) A Holy play.
(c) A series of events.
(d) An enlightened tale.
4. "Whenever one has a real critical flop, for the remainder of the run there is always a small audience of..." what?
(a) Haters.
(b) Grand critics.
(c) Cautious ticketpayers.
(d) Great enthusiasm.
5. In Paris, Brook directed what show in which he did all in his power to inhibit applause, because appreciation of the actor's talents seemed irrelevant in a Concentration Camp document?
(a) Who's Afraid of Virginia Woolfe?
(b) The Representative.
(c) The Tempest.
(d) The Investigation.
6. What does the author say is "a sign and is an illustration--so it is a fragment of language"?
(a) Metaphor.
(b) Action.
(c) Impulse.
(d) Symbol.
7. The author writes, "What has not been appreciated sufficiently is that the freedom of movement of the ____ theatre was not only a matter of scenery."
(a) Brechtian.
(b) Pagan.
(c) French.
(d) Elizabethan.
8. In the third section of the book the author claims, "It is always the ______ theatre that saves the day."
(a) Proud.
(b) Popular.
(c) Honest.
(d) Deadly.
9. What director/playwright was rooted in the cabaret?
(a) Bertolt Brecht.
(b) Samuel Beckett.
(c) Peter Brook.
(d) Meyerhold.
10. The author believes the science of theatre building demands studying what it is, which brings about the most what?
(a) Holiness.
(b) Separation of the spectators.
(c) Vivid relationship between people.
(d) Connectedness with the stage and audience.
11. "The epic writer of _____ plays seldom brings to his work this same fine sense of human individuality: perhaps because he is unwilling to regard a man's strength and a man's weakness with equal impartiality."
(a) Surrealist.
(b) Dadaist.
(c) Marxist.
(d) Absurdist.
12. Who wrote Sergeant Musgrave's Dance?
(a) Samuel Beckett.
(b) Alfred Jarry.
(c) John Arden.
(d) Sam Shepard.
13. The author contends that ______ "is a model of a theatre that contains Brecht and Beckett, but goes beyond both."
(a) Albee.
(b) Marlowe.
(c) Williams.
(d) Shakespeare.
14. Who "influenced Europe for half a century through a couple of performances given in Hampstead in a church hall"?
(a) Samuel Beckett.
(b) Gordon Craig.
(c) Antoine Artaud.
(d) Martha Graham.
15. In which Shakespearean play does the Holy/Rough theatre show in Falstaff; the prose realism of the inn scenes on the one hand and the poetic levels of so much else--both elements contained within one complex whole?
(a) King Lear.
(b) Henry IV.
(c) Hamlet.
(d) Henry VI.
Short Answer Questions
1. What is the term which embodies the emotional and spiritual experience that occurs in great tragedies?
2. "Both [rough and holy] theatres feed on deep and true ______ in their audiences."
3. The aim of acting exercises and improvisation in rehearsals is always the same, according to the actor, which is what?
4. What is the earliest relationship during the performance/rehearsal process?
5. No tribute to the latent power of the theatre is as telling as that paid to it by what?
This section contains 552 words (approx. 2 pages at 300 words per page) |
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