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Thar 1310 quizzes

which statement best describes “willing suspension of disbelief”
a dynamic in which the audience agrees to accept the fictional world of the play on an imaginative level while kowing it to be untrue
in the statement “A performs B for C” which of the following is NOT a component of “A”
audience
which statement accurately reflect similarities between theatrical performance and sports
both have players and spectators
both have specialized dress for their participants
both have a special playing space or are for the activity
which does NOT express a difference between theatre and games or sports
in theatre, spectators assemble at a special time and place for the event
what types of intelligence does theatre develop and make use of
verbal
mathematical
musical
parades, juggling, pantomime and street carnivals may all be considered theatrical entertainments
true
audience taste may significantly influence what is performed, how is it performed and white it is performed
true
all theatre depends upon a script as its basic starting point
false
because of “empathy” we don’t call the police if we see a character murdered on the stage during a performance
false
it is much easier to control audience focus in the theatre than it is on television or film
false
which statement BEST defines the rules about how to experience a theatrical performance
there are no rules on how to experience a theatrical performance, but it may be more satisfying if one pays attention and uses their imagination
audience response to a performance can be affected by which facto
-the size and shape of the auditiorium
-other audience members
-each audience members’ imagination and concentration
which is NOT part of the three-step process for developing critical judgment
one develops a subjective response
Which is NOT one of the three basic problems of criticism
research
although some theatre critics may write flippant remarks, the most constructive or useful criticism
-balances itself with a discussion of both excellence and shortcomings
-provides sufficient description of the production for the reader to understand the experience
-seeks to understand, evaluate the effectiveness of the production, and relates (however subjectively) its ultimate worth.
a reader may re-read, reflect, and sustain several possible interpretations of a line scene or entire play, but the playgoer experiences the action and characters more immediately and directly
true
what the audience sees is always the only possible interpretation of a script
false
theaters which produce plays intended for a small segment of the population (such as minorities) find it much easier to attract an audience that theatres whose goal it is to appeal to the community as a whole.
true
professional critics always adhere to a single context in making their judgments
false
some plays and musicals have met with negative or mixed reviews and still achieved popular success
true
which is NOT an Elizabethan theatrical convention
realistic staging
which did NOT influence the development of Elizabethan drama
strict adherence to neoclassical unities of time, place, and action
which audience area had the least expensive admission price
the gallery
which was NOT used in association with perspective scenery
the discovery space
an intermezzi is
court entertainments based on myth or legend typically designed to pay an elaborate compliment
which is NOT one of the three stock character types commonly found in commedie dell arte
princes
many credit carlo Goldoni (the servant oftwo masters) wit refining and reforming commedie in the 18th century. what did Goldoni NOT do
heighted the use of improvisation
French neoclassicism advocated all the following EXCEPT
the mixing of tragedy and comedy in the same play
“Moliere” was
the stage name of the leading French actor, playwright, and head of a prominent theatre company
which is a new feature introduced to the English stage during the Restoration
the use of women to play the female roles in public theatre performances
the acceptance of perspective scenery signaled a movement away from the formal and architectural stage in favor of the representational, pictorial stage
true
Elizabethan theatre was a shift from professional secular and regularly performed theater to communal religious and occasionally performed theatre
false
Elizabethan theatre companies were full financially supported by a noble patron
false
the Elizabethan staging conventions were an adaptation of medieval staging conventions
true
Shakespeare was the only significant dramatist of his time
false
in france costumes were provided to the actors by the company manager
false
the proscenium arch was invented to frame the stage picture
true
opera emerged as an attempt to recreate the relationship between music and speech found in greek drama
true
Tartuffe is organized in “French scenes” wherein dramatic action is developed as characters enter and exit a central location
true
French actors in the 17th and 18th centuries were hired according to “lines of business” or the type of characters they traditionally played
true
which was NOT an appeal of melodrama
box sets
which artistic movement challenged neoclassicism in the ate 18th and early 19th centuries
romanticism
the complexity involved in staging the spectacular effects required by melodrama was a contributing factor in
the perceived need for a director to coordinate and unify stage action
which is an implication some derived from Charles Darwin’s theories
heredity and environment influence human behavior and characteristics
A Doll’s House exemplifies realism in that
the play develops logically through a cause-to-effect dramatic construction
Ibsen’s dramas were controversial because
they challenged existing moral values and social norms
who is usually considered the first director, in the modern sense
Gereoge II, duke of Saxe-Meiningen
Wagner’s demand for “unity of Production”
sought to filter all stage expressions through a single artistic consciousness
the independent theatre movement
got around the censorship laws governing public performance by staging “private” performances
Stanislavsky’s “magic if” refers to
a way through which the performer may imaginatively project themselves into the world of the play
romanticists thought of a play as merely “a slice of life” – reality transferred to the stage
false
melodrama encouraged the development of realistic spectacle
true
among other things, frued’s theories contributed to an increased awareness of subtext (the possibility of a covert meaning beneath what is overtly communicated)
true
realism and naturalism were based on the idea that character is determined by heredity and environment
true
in the play A Doll’s House, Nora walks out on her husband bc he won’t give her any money
false
the configuration of Wagner’s theatre at Bayreuth set the pattern for most 20th century theatres
true
Saxe-Meinigen’s company was known especially for its realistic crowd scenes
true
numerous independent theatres were established al over Europe, the first of which was the Theatre Libre in Paris
true
George Bernard Shaw wrote comedies for London’s independent theatre that punctured popular prejudices and provoked audiences t reassess their values
true
Stanislavsky believed that on stage the actor should be free to improvise spontaneously
false
which idea or practice did Adolphe Appia urge
flat painted scenery should be replaced with three dimensional structures
which is a typical futurist practice
compression of a full length play’s essence into a few moments
at which modernist group’s performance might “chance poems” music, and dances be included
Dadaists
The Federal Theatre Project
was a nationwide program that aimed to provide jobs and americans with free, adult, uncensored theatre
which statement most accurately defines the goals of the new “stagecraft” or modified realism
simplification and suggestion to stimulate the imagination rather than providing every detail
which is associated with Bertolt Brecht’s Epic Theatre
-creating “alienation” so that the audience watches actively ad critically
-the interplay of theatrical elements, with each makings it own statement
-the use of fragmented scenery and unmasked lighting instruments
Antonin Artaud advocated a “theatre of cruelty” wherein “cruelty” refers to
the audience being forced to confront itself in order to purge the unconscious mind of destructive impulses
which are playwrights whose works characterized American psychological realism of the early postwar years
Arthur Miller and Tennessee Williams
what musical is often cited as the first to fully integrate music, story, dance and visual elements to support the dramatic action
Oklahoma!
which is NOT an absurdist playwright
Arthur miller
expressionism was the first artistic movement to reject representationalism (the long-standing relationship between perception and representation)
false
adolpe appia considered light the most flexible of all theatrical elements
true
futurism and Dadaism bot advocated simultaneity and multiple focus
true
Eugene o’neills “the hair ape” is an example of an “epic theatre” play
false
the widely acclaimed group theatre (1931-1941) had no connection to Stanislavsky and bitterly opposed his ideas and practices
false
in the good women of setzuan of kind-hearted prostitute name shen te disguises herself as her hard-hearted cousin shui ta because she finds it impossible to be good in an economic system that forces people to do bad things in order to survive
true
artuad was at one time a member of the realistic movement
false
atuad advocated the creation of new performance spaces wherein the formal divisions between performers an audience would be eliminated
true
elia Kazan, who directed the first broadway production of cat on a ht tin roof, was successful in insisting that Tennessee Williams include “big daddy” in the last act, and make other changes to make the overall tone of the play more positive
true
in Samuel beckett’s waiting for Godot, one major theme is the isolation and loneliness of human beings
true
the living theatre
none of the above
what did jerzy grotowski want to achieve
he wanted actors and audience to undergo an event wherein they might spiritually confront themselves
josef svoboda is among those typically credited with
-the use of multiple screens of varied sizes hung at varied distances from the audience on which different images were projected
-the incorporation of film with live performers
-increasing the quick transformable quality of stage scenery
happenings typically had all the following characteristics EXCEPT
an emphasis on representation of a scripted text for an audience
performance art formed, in part, due to impulses that had also inspired which of the following people
alan kaprow
which theatre became the prototype for regional theaters in the U.S
Theatre ’47
which off broadway theatre offers plays free of charge in central park
the new York Shakespeare festival
which is NOT considered a regional theatre
playwrights horizons
which playwright’s work instigated parliament to abolish censorship laws thathad been in place forover 200 years
Edward bond
which is a characteristic of Stephen sondheims musical
ironic and melancholic views of human behavior
Paradise Now was the first time nudity an obscenity appeared in a production on Broadway
false
environment theatre blurs the distinctions between acting space and audience space
true
no European countries consider funding for the arts a cultural responsibility
false
the Stratford festival is most closely associated with the English national theatre
false
off broadway theatres were founded as a way to produce plays that the typicalbroadway audiences probably wouldn’t come see
true
the ford foundation funded the 1963 opening of the Guthrie Theatre in Minneapolis
false
the term “decentralization” refers to he efforts to establish theatre centers in various parts of the country
true
England’s royal Shakespeare company and national theatre are both examples of very successful theatres that owe much to the federal subsidies they were granted
true
playwright David Mamet writes about serious subjects in and outrageous manner to comically underscore the absurdity of modern life
false
popular broadway musicals in the 1970’s and 80s were, for the most part, imports from england
true
which theatre began in 1965 by performing political sits to support striking migrant farm workers
El Teatro Campesino
what type of theatre did Amiri Baraka advocate
a black separatist theatre: “By us, about us, for us”
Lydia by Octavio Solis, has been compared to the works of
Eugene o’neill and Arthur miller
what type of dramatic structure does How I learned to Drive use
an episodic plot structure in which the action moves forward and backwards in the time through associations structured through a central metaphor of a driving lesson
what American female playwright has NOT won a Pulitzer prize for drama
tracy letts
which playwright is director Lloyd Richards MOST associated with
august wilson
which was the first play by an African American woman to be produced on Broadway
Raisin in the Sun
during 2010, not-for-profit theatres presented how many productions
16,000
which BEST describes some of the ideas and practices of postmodernism
mingling of elements from disparate styles, periods, or cutures
which is considered an important factor in the revival of the American musical
-adapting movies into musicals
-the Disney corporation
-the 42nd street developed project
Robert Wilson’s productions juxtapose visual images; often of a variety of styles, cultures and historical periods, out of which each spectator constructs his or her own associations and meanings
true
postmodernists argue that it is the director’s task to translate the script faithfully
false
George c. wolfe is an influential playwright and director
true
in the play fences, troy maxson is a professional baseball player with the Brooklyn Dodgers
false
“magic realism” is defined as realistic and fantastic elements existing alongside each other
true
in the play Lydia, the central character, lydia, as been in a tragic car accident
false
tony Kushner’s angels in American marked the first turning point in the acceptability of plays about homosexuality
false
contemporary performance art is much the same today as it was in the 1970s
false
Martin McDonough’s play combine verbal with and highly imaginative action with complex ideas about perceptions of reality
false
in which arrangement is a productions costumes likely to be the least detailed
proscenium arch
which is NOT an element of design
harmony
which of these practitioners makes use of visual design
-actors
-directors
-designers
the level of formality expressed through architecture and decoration within a theatre does not affect an audiences expectations or responses to a production
false
in a flexible space theatre, the audience seating and performance areas may not be rigidly fixed
true
small professional companies, such as off off broadway theatres, have more extensive auxillary spaces than regional and university theatres usually do
false
theatre artists are able, through careful collaboration and coordination of visual and aural signs, to ensure that the audience will fully interpret their intentions
false
the principle of design are: line, shape, color, texture, and ornamentation
false
playwrights have been the most removed from the production process in
21st century america
playwrights need to see their work performed to answer questions about
-the dialogue and speeches
-the clarity of the dramatic action
-the effectiveness of the plot structure
who is considered the be the first dramaturg
lessing
which best explains the difference between literary management and production dramaturgy
literary management is concerned with the entire season, whereas production dramaturgy is concerned with a specific production
the humana festival in new York stages multiple new plays every year
false
two weeks before opening night of a new play the playwrightis no longer allowed to make revisions so that the actors have sufficient time to learn their lines
false
almost all plays that are written for the theatre eventually gain a fully mounted production
false
the basic question one asks when considering a play for production is “why this play for this audience at this time”
true
dramaturgs have some responsibility for educating the audience
true
which statement best describes the essential service the producer provides the director
the producer provides the space, personnel and money the director needs to realize his or her vision
producers usually provide potential investors with
a proposed budget for all expenses prior to opening the show, weekly operating costs, and a plan for dividing any profits
which statement best defines the auteur directorial approach
the director uses the script as raw material to be reshaped for his or her own purposes
which is NOT ordinarily a responsibility of the director
to determine the total cost of the production and its projected income
stage movement may
-give emphasis
-characterize
-clarify the situation
the term “blocking” refers to
establishing the performers’ movements from place-to-place and their bodily position
the term “colorblind casting” refers to what practice
casting the most talented performer suitable for the role regardless of race or ethnicity
which is NOT a main directorial concern in guiding the performers’ use of voice and speech
that the contents of their speeches should not be offensive or vulgar in any way
the typicaly rehearsal schedule follows what process
read and discuss the script, blocking, memorize lines, ensemble playing, technical rehearsals
the producer primary functions are financial and managerial in nature
true
when studying the script, one of the questions a director may ask is whether or not the length of the script should be cut
true
directors generally dictate to the designers exactly what the show should look like
false
the term “open call” means that anyone who wants to audition may do so without any restrictions
false
ariane mnouchkine staged some of Shakespeare’s history plays using the formalized conventions of Asian theatre is an example of the auteur directorial approach
false
each moment within a play ceates an image that send a message to the audience – whether planned or not
true
the means to create visual emphasis remain the same, regardless of the type of stage
false
from the beginning of rehearsals’ refer to when the actors first discuss the play with the director
false
director anne bogart hasgained considerable notoriety for staging familiar or classical plays in a manner that can seem inconoclastic
true
stage acting requires
-concentration
-imagination
-a flexible, disciplined, and expressive voice and body
an action is “cheated” if
it isn’t really done, but isntean is faked through careful timing and positioning of the actors
what does an actor ding scene study typically do
-identifies the character’s desires and actin swhile breaking the scenes into beats
-notes changes in tempo and rhythm that the test and type of interaction provides
-notes how the dramatic action develops in different types of plays
which accurately identifies the 4 levels of characterization
biological, sociological, psychological, ethical
what does an actor need to know to understand the role for which he or she has been cast
-how the role relates to the other in the play
-the scripts themes and implied meanings
-which character traits are necessary within the dramatic action
-the objectives, actions, and obstacles of the character
to “dress the stage” means to move slightly to balance the stage picture
true
film actors have greater control over shaping their performances that do stage actors
false
to “endow” an object means to give it an emotional significance and value from the character’s perspective
true
a “planted prop” is one that must not be referred to or moved in any manner
false
an actor only needs to understand his or her own role and not be concerned with others
false
the term “cue lines” refers to knowing what another actor is going to say just before it is your turn to speak
true
most actor’s vocal and movement training begins by developing an understanding of how the voice and body work, and by releasing unnecessary tension or inhabitions
true
which accurately describes the function of scene design
-defnes the acting space
-characterizes the acting space
-created mood and atmosphere
a “floor plan” (or ground plan)
shows all of the elements of the setting and their arrangement
each of these is an example of a soft scenery unit EXCEPT
flat
“front elevations” show
the appearance of the unit including any molding, baseboards, or attached platforms
which is NOT part of theatre’s counterweight system
elevator
a “wagon” is generally used for
moving heavy or complex set pieces on and off stage
in most theatres, which person sees to it that the scenery is built appropriately
technical director
scene designers must consider their work in much the same way as interior decorators
true
“spattering” refers to a painting technique of simultaneously applying and blending more than one shade of paint on the same surface to create a mottled effect
false
a “set prop” refers to a property that is attached to the setting or one that functions as part of the design, such as a sofa or a cabinet
true
3-dimensional units are used more in arena theatres than any other configuration
false
wood may eventually replace steel bc of its greater strength and durability
false
the technical director works for the scene designer and is supervised by the scene designer
false
which accurately describes a function of costume design
-may establish social and economic status of the characters
-may embody a metaphor, symbol, or allegorical concept
what is the purpose of costume chart
to communicate the broadorganization of all the characters’ costumes in a single glance
a costume working drawing is a color sketch that shows
the costume from a distinctive angle, after including details of special features
in the professional theatre, how are custom made beards, moustaches and wigs typically made
human hair is tied with special needles onto a special woven net, then measured and cut to fit the performer
which is NOT considered a type of painted makeup effect
prosthetic
costumes always adhere to realistic standards of dress
false
costumes help to determine the amount, type and overall pattern of movement and stage business
true
the development of the dramatic action can be underscored by changes in what each character wears
true
the typical process of building a stage costume is to : (1) take the performer’s measurements, (2) purchase the materials, (3) draft patterns for the cutting and shaping of the material, (4) construct the garment, and (5) fit the garment to the performer
true
in the professional theatre, actors are responsible for applying their own makeup, though the costumes designer may design it
true
what city des Oedipus rule
thebes
who is oedipus’ wife
jocasta
who did Oedipus kill
laius
who originally predicted Oedipus’ fate
an oracle of apolla
what was oedipus’ fate
he would kill his father and marry his mother
oedipus’ daughters are his sisters
true
when Oedipus finds out that his fate has come true, how do both he and jocasta react
jocasta kills herself and Oedipus blinds himself with her brooches
what god does Oedipus blame for his horrible fate
apollo
who was teiresias
a blind prophet
who was Mr. Lindner
theman wo wants to buy tem out
where did ruth go instead of to the doctors office
an abortionist
why did walter need $10,000
to invest in a liquor store
what is walters occupation
chauffeur
where di the family buy ahouse
clybourne park
what is the name of the youngest member of the younger family
travis
where did beneatha get asked to go with asagai
nigeria
how did beneatha aquire the money
walter lees insurance
according to asagai, what word does he use to describe what beneatha does to her hair
mutilates
where does the entire action of the play take place
in the Torvalds study
what time of year does the play take place
christmas
why does Mrs. Linde come to visit Nora
to get an endorsement to work in Torvalds office
what subject preoccupies much of the first scene between Nora and Helmer in the first scene
money
what does krogstad do to blackmail nora
drop a letter in the mailbox to torvald about her loan
what does Nora do to prevent torvald from reading the letter
dance a tarantella
what year was a Doll’s House written
1879
who is the playwright of a Doll’s House
Henrik Ibsen
why did nora borrow the money
she wanted to help her husbands health improve
what happens at the end of the play
nora leaves her husband and children

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