Introduction To Theatre Test I
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Test I for Introduction to Theatre 121. Your reading and videoing viewing should have prepared you for answering the following questions. Feel free to use your notes, book, and other readings, and Internet searching to help you come up with the best answer. Really, for most of these questions, thinking it through will lead you to the best answer. You will have two full hours to complete the exam. If you find that you are not satisfied with your score, you may take the exam a second time to improve your grade.
- 1.Briefly explain the differences between internal approaches to acting and external approaches to acting.
- 2.Briefly explain three ways that a director might block a scene to create focus. Be sure to describe the appearance of the way the director arranges in the space of the stage.
- 3.College and university theatres and some theatre companies often say they need three performance spaces: a proscenium theatre, a thrust or arena theatre, and a large empty space that can be arranged in several ways. What do you believe their arguments would be for needing such spaces? Do you think they need three such spaces?
- 4.Which of these gathers an audience into a special place but does NOT allow interplay between the audience and the performer?
- A.
Television
- B.
Film
- C.
Theatre
- D.
Opera
- E.
Ballet
- 5.Arts that can be both replicated and retrieved are
- A.
Dance, opera
- B.
Opera, film
- C.
Theatre, film
- D.
Film, television
- E.
Theatre, opera
- 6.Which does theatre most resemble in its principles of organization?
- A.
Music
- B.
Painting
- C.
Sculpture
- D.
Opera
- E.
Novel
- 7.Actors differ from jugglers in their
- A.
Dependence on impersonation
- B.
Relationship with audiences
- C.
Reliance on skill
- D.
Self-awareness as performers
- E.
Immediacy
- 8.A rock concert shares with a theatrical event its
- A.
Reliance on music
- B.
Dependence on performers in space
- C.
Relationship to a written text
- D.
Ephemeral quality
- E.
B and d
- 9.A theatre audience differs fundamentally from a television audience in its
- A.
Degree of groupness
- B.
Size
- C.
Ability to influence performance
- D.
Social class
- E.
All of the above
- 10.In real life, if we were polite and sensitive, we would not laugh at a person who stuttered badly. In the theatre, such a character might be intended to provoke much laughter. This is so because
- A.
Theatre is a social art
- B.
Theatre audiences are part of society at large
- C.
Theatre audiences are groups of people rather than individuals
- D.
Theatre audiences are ephemeral
- E.
Theatre audiences have permission
- 11.At the end of a performance of Julisu Caesar, the actor playing Caesar comes to center stage for a moment before moving off state and out of sight. Caesar has just
- A.
Stood an ovation
- B.
Taken an encore
- C.
Milked his audience
- D.
Taken a bow
- E.
Given a permission
- 12.In the midst of a serious play that is succeeding well with an audience, you would expect to hear
- A.
Crying
- B.
Coughing
- C.
Laughing
- D.
Clapping
- E.
Nothing
- 13.The actor playing Dolly in Hello, Dolly responding ot the sustained applause of the audience, sings another song from the show. She has just
- A.
Stood an ovation
- B.
Given an encore
- C.
Milded her audience
- D.
Taken a bow
- E.
Given a permission
- 14.Dramtic characters
- A.
Are different from human beings
- B.
Are inventions of a playwright
- C.
Function within a plot
- D.
A and b only
- E.
A, b, and c
- 15.If we want to discover the traits of a character, we should look at
- A.
The plot
- B.
What the character says about him- or herself
- C.
What the character does
- D.
A, b, and c
- E.
B and c only
- 16.Annie seems to be the only sensible character in a comedy. She is most likely the play's
- A.
Antagonist
- B.
Raisonneur
- C.
Foil
- D.
Confidant
- E.
Leading lady
- 17.A "contract" that exists between performers and audience members to do things a certain way for the artistic good of all is called a(n)
- A.
Given circumstance
- B.
Style
- C.
Abstraction
- D.
Surprise
- E.
Convention
- 18.An actor stands in the middle of the stage and talks aloud. None of the other actors on the stage appears to hear him. He is engaging in an example of a(n)
- A.
Given circumstance
- B.
Style
- C.
Abstraction
- D.
Surprise
- E.
Convention
- 19.Even before a particular performance begins, a prepared member of an audience will probably want to know something about which of these?
- A.
The art of theatre
- B.
The play itself
- C.
The contents of the program
- D.
The inside of the theatre auditorium
- E.
All of the above
- 20.Raising and then answering the question "An then what happened?" is a function of
- A.
Abstraction
- B.
Convention
- C.
Given circumstance
- D.
Suspense
- E.
Surprise
- 21.In a class, students discuss what thoughts and lessons they took away from watching the musical Into the Woods. These students are responding to which of the following?
- A.
Story
- B.
Character
- C.
Idea
- D.
Music
- E.
Spectacle
- 22.Which of the following is NOT a function usually given to a dramaturg
- A.
Assisting in the selection of plays
- B.
Designing posters for plays
- C.
Reading an evaluating new plays
- D.
Translating plays
- E.
Doing historical research for the director
- 23.The person paid to get an audience into the theatre is most likely the
- A.
Theorist
- B.
Critic
- C.
Dramaturg
- D.
Public relations person
- E.
Reviewer
- 24.If a theorist is asking questions about gender in performance, he or she is most likely relying on the theories of
- A.
Semiotics
- B.
Deconstruction
- C.
Feminism
- D.
Aristotle
- E.
Langer
- 25.Which of the following is NOT a trait associated with postmodernism
- A.
Discontinuity
- B.
Socially shaped by people
- C.
Socially shaped truth
- D.
Differences
- E.
History as progressive
Questions: 45 | Attempts: 9242 | Last updated: Mar 22, 2022
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