The Empty Space Test | Mid-Book Test - Medium

This set of Lesson Plans consists of approximately 139 pages of tests, essay questions, lessons, and other teaching materials.

The Empty Space Test | Mid-Book Test - Medium

This set of Lesson Plans consists of approximately 139 pages of tests, essay questions, lessons, and other teaching materials.
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This test consists of 5 multiple choice questions, 5 short answer questions, and 10 short essay questions.

Multiple Choice Questions

1. "Occasion, Event, Happening--the words are..." what?
(a) Interchangeable.
(b) Dangerous.
(c) Positive.
(d) Opposing.

2. The author writes that in New York the most deadly element of the theatre is certainly what?
(a) Economic.
(b) Artistic.
(c) Socialist.
(d) Space.

3. "The actor's work is never for _______, yet always is for one."
(a) A director.
(b) A critic.
(c) Another actor.
(d) An audience.

4. Whose "plays are symbols in an exact sense of the word. A false symbol is soft and vague: a true symbol is hard and clear"?
(a) Samuel Beckett.
(b) Harold Pinter.
(c) James Joyce.
(d) Tennessee Williams.

5. What play does the author juxtapose against Peter Weiss' play for an example of clarity of meaning?
(a) King Lear.
(b) Henry V.
(c) Hamlet.
(d) Romeo and Juliet.

Short Answer Questions

1. Which production does the author refer to in Paris which was a flop, so they offered three free performances?

2. What does the author contend is "the only trouble with violent shocks"?

3. What "can be anywhere, any time, of any duration: nothing is required, nothing is taboo"?

4. What used to be the great symbol of a whole school of theatre?

5. The author writes that "a most powerful explanation of the various arts is that they talk of..." what?

Short Essay Questions

1. How does "change" relate to the theatre and its success?

2. What has happened to "ritual" in today's culture, as described by the author?

3. How does boringness contribute to people attending Deadly Theatre?

4. How does the author compare the "deadly theatre" to the "deadly bore?"

5. What playwright does the author write of whose work transcends the absurd?

6. How does the author describe the Hamburg Opera and the audience who attended it?

7. How does the author define "The Holy Theatre"?

8. How can one produce Shakespeare and not fall into the realm of "Deadly" theatre?

9. What does the author say about New York theatre and its economic focus?

10. What is a "deadly" actor, and what contributes to this?

(see the answer keys)

This section contains 787 words
(approx. 3 pages at 300 words per page)
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