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.
Questions and Answers
- 1.
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
Correct Answer
B. FilmExplanation
Film gathers an audience into a special place, such as a movie theater, but does not allow interplay between the audience and the performer. Unlike theater, opera, or ballet, where there is live interaction between the performers and the audience, film is a pre-recorded medium that does not allow for direct communication or participation between the viewers and the actors on screen.Rate this question:
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- 2.
Arts that can be both replicated and retrieved are
- A.
Dance, opera
- B.
Opera, film
- C.
Theatre, film
- D.
Film, television
- E.
Theatre, opera
Correct Answer
D. Film, televisionExplanation
Film and television are arts that can be both replicated and retrieved. Replication refers to the ability to create multiple copies of the art form, such as making multiple copies of a film or television show. Retrieval refers to the ability to access and view the art form at a later time, such as watching a film or television show on demand. Both film and television can be replicated through the production of DVDs or digital copies, and they can be retrieved through various platforms and streaming services.Rate this question:
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- 3.
Which does theatre most resemble in its principles of organization?
- A.
Music
- B.
Painting
- C.
Sculpture
- D.
Opera
- E.
Novel
Correct Answer
D. OperaExplanation
Theatre most resembles opera in its principles of organization because both art forms combine various elements such as music, drama, singing, and visual design to create a cohesive and immersive experience for the audience. Opera, like theatre, involves live performances, elaborate sets and costumes, and often tells stories through a combination of music and dialogue. Both theatre and opera require collaboration among different artists and performers to bring the production to life on stage. Therefore, opera is the best comparison to theatre in terms of its principles of organization.Rate this question:
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- 4.
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
Correct Answer
A. Dependence on impersonationExplanation
Actors differ from jugglers in their dependence on impersonation because actors are trained to portray different characters by assuming their mannerisms, speech patterns, and emotions. Impersonation is a crucial aspect of acting as it allows actors to convincingly portray someone else on stage or in front of the camera. Jugglers, on the other hand, focus more on their physical skills and coordination rather than assuming different identities. While both actors and jugglers may have a relationship with audiences, reliance on impersonation sets actors apart.Rate this question:
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- 5.
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
Correct Answer
E. B and dExplanation
A rock concert shares with a theatrical event its dependence on performers in space, as both rely on the presence and performance of live performers in a physical setting. Additionally, both events have an ephemeral quality, meaning that they are temporary and fleeting experiences that cannot be fully replicated or captured.Rate this question:
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- 6.
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
Correct Answer
E. All of the aboveExplanation
The correct answer is "all of the above". A theatre audience differs from a television audience in several ways. Firstly, the degree of groupness is higher in a theatre audience as they are physically present in the same space and can experience the performance together. Secondly, the size of a theatre audience is generally smaller compared to a television audience, which can vary greatly in size. Thirdly, the ability to influence performance is greater in a theatre audience as their reactions and feedback can directly impact the actors on stage. Lastly, social class can also play a role in the composition of a theatre audience, as it may attract a certain demographic.Rate this question:
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- 7.
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
Correct Answer
E. Theatre audiences have permissionExplanation
In the context of the question, the explanation for the answer "theatre audiences have permission" is that in a theatrical setting, audiences are given the social permission to laugh at certain characters or situations that may not be acceptable in real life. Theatres provide a space where people can suspend their normal social rules and expectations, allowing them to find humor in situations that they might otherwise find inappropriate or offensive. This permission is granted by the nature of the theatrical experience, where audiences understand that they are engaging with fictional characters and situations.Rate this question:
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- 8.
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
Correct Answer
D. Taken a bowExplanation
After the performance of Julius Caesar, the actor playing Caesar takes a moment to stand at the center stage before leaving. This action is commonly known as "taking a bow" and is a customary way for actors to acknowledge and thank the audience for their applause and support. It is a way of showing gratitude and respect towards the audience for their appreciation of the performance.Rate this question:
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- 9.
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
Correct Answer
E. NothingExplanation
In the midst of a serious play that is succeeding well with an audience, you would not expect to hear any sounds such as crying, coughing, laughing, or clapping. The audience would likely be fully engaged in the serious play and would be silent, focusing on the performance. Therefore, the correct answer is "nothing."Rate this question:
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- 10.
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
Correct Answer
B. Given an encoreExplanation
The correct answer is "given an encore." In this context, the actor playing Dolly receives sustained applause from the audience, which prompts her to sing another song from the show. This is known as giving an encore, where a performer goes back on stage to perform an additional piece in response to the audience's appreciation.Rate this question:
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- 11.
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
Correct Answer
E. A, b, and cExplanation
Dramatic characters are different from human beings because they are fictional creations of a playwright. They exist solely within the context of a play and serve specific functions within the plot. These characters are not real individuals but rather artistic inventions designed to convey a story and engage the audience. Therefore, the correct answer is a, b, and c.Rate this question:
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- 12.
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
Correct Answer
D. A, b, and cExplanation
To discover the traits of a character, we should look at the plot, what the character says about him- or herself, and what the character does. The plot helps us understand the actions and decisions made by the character, providing insights into their personality. What the character says about themselves gives us direct information about their traits and beliefs. Additionally, observing what the character does allows us to see their behavior and actions, which can reveal more about their personality and motivations. Therefore, examining a combination of the plot, character's self-expression, and their actions provides a comprehensive understanding of their traits.Rate this question:
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- 13.
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
Correct Answer
B. RaisonneurExplanation
Annie seems to be the only sensible character in a comedy. This suggests that she serves as the voice of reason and logic in the play. The term "raisonneur" refers to a character who expresses the author's viewpoint and acts as a moral compass. Therefore, Annie is most likely the play's raisonneur, providing insight and commentary on the events and characters.Rate this question:
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- 14.
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
Correct Answer
E. ConventionExplanation
A "contract" that exists between performers and audience members to do things a certain way for the artistic good of all is called a convention. A convention refers to the agreed-upon rules, practices, and expectations that govern a particular art form or performance. It establishes a mutual understanding between performers and audience members, allowing for a cohesive and enjoyable artistic experience.Rate this question:
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- 15.
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
Correct Answer
E. ConventionExplanation
The actor standing in the middle of the stage and talking aloud, while none of the other actors appear to hear him, is engaging in a convention. A convention in theater refers to a widely accepted practice or technique that is used to convey a certain meaning or create a specific effect. In this case, the convention is that the other actors on stage are ignoring the actor speaking, which may be used to highlight a character's isolation or emphasize a specific message or theme in the play.Rate this question:
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- 16.
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
Correct Answer
E. All of the aboveExplanation
A prepared member of an audience will probably want to know something about all of the above options. Knowing about the art of theatre can help them appreciate the performance and understand the different elements involved. Knowing about the play itself can give them an idea of the storyline and characters. Knowing about the contents of the program can provide additional information about the performance and the artists involved. Knowing about the inside of the theatre auditorium can help them navigate the space and be aware of any specific features or requirements.Rate this question:
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- 17.
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
Correct Answer
D. SuspenseExplanation
The act of raising and then answering the question "And then what happened?" creates suspense. By leaving the audience in anticipation of the next event or outcome, suspense builds tension and keeps them engaged. This technique is commonly used in storytelling, movies, and other forms of entertainment to create a sense of excitement and curiosity.Rate this question:
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- 18.
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
Correct Answer
C. IdeaExplanation
The students are responding to the idea conveyed in the musical Into the Woods. This indicates that they are discussing the underlying concepts, themes, or messages that they took away from watching the musical. They are likely reflecting on the deeper meaning and lessons that the musical conveyed to them.Rate this question:
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- 19.
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
Correct Answer
B. Designing posters for playsExplanation
A dramaturg is typically responsible for assisting in the selection of plays, reading and evaluating new plays, translating plays, and doing historical research for the director. However, designing posters for plays is not a function usually given to a dramaturg.Rate this question:
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- 20.
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
Correct Answer
D. Public relations personExplanation
A public relations person is responsible for promoting and creating awareness about events, including theatre performances. Their role involves attracting an audience and generating interest through various marketing strategies. They work to build a positive image for the theatre and ensure that the public is aware of the production. The other options, such as critic, dramaturg, and reviewer, do not typically involve directly paying to get an audience into the theatre. Therefore, the most likely person to be responsible for this task is the public relations person.Rate this question:
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- 21.
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
Correct Answer
C. FeminismExplanation
If a theorist is asking questions about gender in performance, he or she is most likely relying on the theories of feminism. Feminism is a social and political movement that advocates for the equality of women and challenges the traditional gender roles and stereotypes. When analyzing gender in performance, feminist theory focuses on how gender is constructed, performed, and represented in various forms of art and media. It aims to uncover and challenge the power dynamics and inequalities that exist within these representations, and to promote gender equality and inclusivity.Rate this question:
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- 22.
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
Correct Answer
E. History as progressiveExplanation
The trait "history as progressive" is not associated with postmodernism. Postmodernism challenges the idea of linear progress in history and instead emphasizes the fragmented and subjective nature of historical narratives. It rejects the notion of a grand narrative or a single, objective truth. Postmodernism focuses on the diversity of perspectives, the social construction of truth, and the recognition of differences rather than a linear progression of history.Rate this question:
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- 23.
If a theorist is asking questions of how, exactly, a performance is communicating its meaning to the audience, he or she is most likely relying on the theories of
- A.
Semiotics
- B.
Deconstruction
- C.
Feminism
- D.
Aristotle
- E.
Langer
Correct Answer
A. SemioticsExplanation
If a theorist is asking questions about how a performance is communicating its meaning to the audience, they are most likely relying on the theories of semiotics. Semiotics is the study of signs and symbols and how they create meaning. In the context of performance, semiotics would involve analyzing the various signs and symbols used in the performance, such as gestures, costumes, and set design, to understand how they contribute to the overall meaning being communicated to the audience.Rate this question:
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- 24.
To protect their investments, Broadway producers tend to:
- A.
Work with already established playwrwights
- B.
Select plays that have already been successfully produced
- C.
Select small-cast, limited-set shows
- D.
All of the above
Correct Answer
D. All of the aboveExplanation
Broadway producers tend to work with already established playwrights, select plays that have already been successfully produced, and select small-cast, limited-set shows in order to protect their investments. By working with established playwrights, producers can have more confidence in the quality and marketability of the play. Selecting plays that have already been successfully produced reduces the risk of failure and increases the chances of attracting audiences. Choosing small-cast, limited-set shows helps to minimize production costs and maximize potential profits. Therefore, all of the above strategies contribute to protecting the producers' investments.Rate this question:
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- 25.
"Thrust stage" describes a kind of theatre:
- A.
Never used before the twentieth century
- B.
Where acting is more important than scenery
- C.
Where the curtain hides the scene changes
- D.
Where the audience sits all around the action
Correct Answer
B. Where acting is more important than sceneryExplanation
A thrust stage is a type of theatre where acting is more important than scenery. Unlike traditional proscenium stages where the audience sits facing one side, in a thrust stage, the audience sits all around the action. This setup allows for a more intimate and immersive experience, as the actors are closer to the audience and can engage with them directly. The focus is on the performance and the actors' abilities, rather than elaborate set designs or scenery changes.Rate this question:
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- 26.
Which statement is MOST ture:
- A.
Good theatre spaces are found only in theatre buildings
- B.
Proscenium stages are old-fashioned and unusuable
- C.
In some theatre spaces, no curtain is used
- D.
The best theatre space is the one most like Broadway's
Correct Answer
C. In some theatre spaces, no curtain is usedExplanation
In some theatre spaces, no curtain is used because not all theatre spaces require a curtain for their performances. Some theatre spaces may have a different setup or design that does not necessitate the use of a curtain. This statement acknowledges the fact that the use of a curtain is not a universal requirement in all theatre spaces.Rate this question:
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- 27.
"Professional theatre," in the sense of commercial theatre, is strongest in which grouping?
- A.
Children's, political, and Off-Broadway theatre
- B.
Broadway, dinner, and educational theatre
- C.
The road, dinner, and Broadway theatre
- D.
Educational, political, and Broaway theatre
Correct Answer
C. The road, dinner, and Broadway theatreExplanation
The correct answer is The road, dinner, and Broadway theatre. This is because these three forms of theatre are considered to be part of the commercial theatre industry. Broadway theatre refers to the professional productions that are staged in the theaters located in the Theater District of New York City. The road refers to touring productions that travel to different cities and venues across the country. Dinner theatre combines a meal with a live theatrical performance, often in a restaurant setting. These forms of theatre are known for their commercial success and popularity among audiences.Rate this question:
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- 28.
Regional theatre's contributions include:
- A.
New plays, higher costs, training programs
- B.
New plays, varied repertory, child actors
- C.
Classic repertory, jobs for teachers, political action
- D.
New plays, varied repertory, job opportunities
Correct Answer
D. New plays, varied repertory, job opportunitiesExplanation
Regional theatre's contributions include producing new plays, which helps in the development and promotion of contemporary playwrights. They also offer a varied repertory, providing a diverse range of theatrical experiences for the audience. Additionally, regional theatres create job opportunities for actors, directors, designers, technicians, and other theatre professionals, contributing to the growth and sustainability of the industry.Rate this question:
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- 29.
"Educational theatre" refers to:
- A.
Theatre meant to teach the audience
- B.
Theatre for students
- C.
Amateur theatre since World War Two
- D.
Theatre in college, universities, and schools
Correct Answer
D. Theatre in college, universities, and schoolsExplanation
The term "educational theatre" refers to the practice of using theatre as a tool for teaching and learning in college, universities, and schools. It encompasses the use of theatrical techniques, performances, and productions to enhance educational experiences and promote learning in academic settings. This can include student-led productions, drama classes, theatre programs, and performances that are specifically designed to educate and engage students in a variety of subjects and disciplines.Rate this question:
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- 30.
Another name for a librettist is:
- A.
Book writer
- B.
Lyricist
- C.
Play doctor
- D.
Playwright
- E.
None of the above
Correct Answer
A. Book writerExplanation
A librettist is someone who writes the text or script for an opera or musical. This text is often referred to as the "book" of the production. Therefore, another name for a librettist is a "book writer". The other options, lyricist, play doctor, and playwright, do not accurately describe the role of a librettist in the context of opera or musical theater.Rate this question:
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- 31.
The language of a play is important because of all of these EXCEPT:
- A.
It carries the meaning of the play
- B.
It substitues for the action of a play
- C.
It distinguishes one character from another
- D.
It mediates the tempo of the actions
- E.
It helps externalize the action of the play
Correct Answer
B. It substitues for the action of a playExplanation
The language of a play is important for several reasons. It carries the meaning of the play, distinguishing one character from another, and helps externalize the action of the play. Additionally, it mediates the tempo of the actions, allowing for the pacing and rhythm of the play to be conveyed effectively. However, it does not substitute for the action of a play. The action of a play refers to the physical movements, gestures, and interactions between characters, which cannot be fully replaced by language alone.Rate this question:
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- 32.
A playwright produces
- A.
Human actions
- B.
Records of human actions
- C.
Responses to human actions
- D.
Replicas of human actions
- E.
None of the above
Correct Answer
D. Replicas of human actionsExplanation
The correct answer is "replicas of human actions" because a playwright creates plays, which are dramatic representations of human actions. Plays are meant to imitate or replicate real-life situations and behaviors, often with the intention of entertaining or conveying a message to the audience. Therefore, the answer "replicas of human actions" accurately describes the output of a playwright's work.Rate this question:
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- 33.
A play is finished when
- A.
It is on stage in front of an audience
- B.
It has been turned over to the director
- C.
It has been rehearsed by the actor and their lines have been memorized
- D.
It is given to the producer
- E.
The playwright has completed the writing of it
Correct Answer
A. It is on stage in front of an audienceExplanation
The correct answer is "it is on stage in front of an audience." This is because a play is considered finished when it is being performed live on stage in front of an audience. This is the culmination of the entire process, including writing, directing, rehearsing, and producing the play. The presence of an audience is essential for the play to come to life and fulfill its purpose of being performed.Rate this question:
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- 34.
A new play is LEAST LIKELY to have its first production:
- A.
In a regional theatre
- B.
In an Off-Broadway theatre
- C.
In a Broadway theatre
- D.
In a university theatre
- E.
In a new play festival
Correct Answer
C. In a Broadway theatreExplanation
A new play is least likely to have its first production in a Broadway theatre because Broadway theaters are typically reserved for established, commercially successful productions. New plays often start in smaller, more experimental venues such as regional theaters, Off-Broadway theaters, university theaters, or new play festivals, where they can be developed and tested before potentially moving to larger, more mainstream stages like Broadway.Rate this question:
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- 35.
The playwright who gains production in a Broadway theatre will probably NOT
- A.
Be entertaining
- B.
Use familiar dramatic conventions
- C.
Use familiar theatrical conventions
- D.
Be highly innovative
- E.
Repeat features of past successes
Correct Answer
D. Be highly innovativeExplanation
The correct answer is "be highly innovative". This is because gaining a production in a Broadway theatre typically requires appealing to a wide audience and generating ticket sales. Highly innovative plays may be seen as risky and may not attract a large enough audience to be financially successful. Therefore, playwrights who want to secure a production in a Broadway theatre are more likely to stick to familiar dramatic and theatrical conventions and avoid taking too many risks.Rate this question:
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- 36.
Factors like the age, sex, and social status of a character that an actor might play are
- A.
Given circumstances
- B.
Objectives
- C.
Superobjectives
- D.
Tendencies
- E.
None of the above
Correct Answer
A. Given circumstancesExplanation
Given circumstances refer to the background information and context that shape a character's experiences and motivations. Factors like age, sex, and social status are part of the given circumstances as they contribute to the character's identity and influence their actions and decisions. Understanding these given circumstances helps actors create a more nuanced and authentic portrayal of the character they are playing.Rate this question:
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- 37.
Successful actors try to avoid having
- A.
Objectives
- B.
Motivations
- C.
Superobjectives
- D.
Through lines
- E.
Tendencies
Correct Answer
E. TendenciesExplanation
Successful actors try to avoid having tendencies. Tendencies can refer to certain habits or inclinations that actors may have, which can limit their ability to fully embody a character and deliver a convincing performance. By avoiding tendencies, actors can remain open and adaptable, allowing them to explore different choices and approaches in their acting. This helps them to create more dynamic and nuanced characters, ultimately enhancing their overall performance on stage or screen.Rate this question:
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- 38.
Preliminary training of an actor involves learning how to
- A.
Relax
- B.
Center
- C.
Give and take
- D.
Play
- E.
All of the above
Correct Answer
E. All of the aboveExplanation
The preliminary training of an actor involves learning how to relax, center oneself, give and take with other actors, and play various roles. Relaxation is important for an actor to be able to let go of tension and fully immerse themselves in a character. Centering helps actors find their balance and focus on their performance. Giving and taking involves being responsive and adaptable to other actors on stage. Lastly, playing refers to the ability to portray different characters and emotions convincingly. Therefore, all of the above options are essential aspects of an actor's preliminary training.Rate this question:
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- 39.
Of the following, the best directorial springboard would be
- A.
A personal acquaintance with the author
- B.
A passionate commitment to the play
- C.
A desire to direct the major idea in the play
- D.
An actor friend just right for the major role
- E.
A strong visual image of one scene in the play
Correct Answer
C. A desire to direct the major idea in the playExplanation
The best directorial springboard would be a desire to direct the major idea in the play. This means that the director has a strong passion and understanding of the central theme or message of the play, and wants to bring it to life through their direction. This approach ensures that the director has a clear vision and purpose for their creative decisions, which can result in a cohesive and impactful production. Personal acquaintance with the author, a passionate commitment to the play, an actor friend just right for the major role, or a strong visual image of one scene in the play may also be beneficial, but they do not necessarily guarantee a strong directorial vision or understanding of the play's major idea.Rate this question:
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- 40.
A rehearsal at which costumes are incorporated into the other technical elements is called a
- A.
First rehearsal
- B.
Unit rehearsal
- C.
Technical rehearsal
- D.
Dress rehearsal
- E.
Preview
Correct Answer
D. Dress rehearsalExplanation
A dress rehearsal is a rehearsal where costumes are incorporated into the other technical elements. It is the final rehearsal before a performance where all aspects of the production, including costumes, lighting, sound, and set changes, are practiced together. This allows the cast and crew to familiarize themselves with the technical aspects of the show and ensure that everything runs smoothly before the actual performance.Rate this question:
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- 41.
If you are in the audience facing the stage, the area of the stage closest to you and on your left is
- A.
Upstage right
- B.
Upstage left
- C.
Downstage right
- D.
Downstage left
- E.
None of the above
Correct Answer
C. Downstage rightExplanation
The correct answer is downstage right. In theater, the stage is divided into different areas based on the perspective of the audience. "Downstage" refers to the area of the stage that is closest to the audience, while "right" and "left" are determined from the perspective of the performer facing the audience. Therefore, downstage right would be the area of the stage closest to the audience and on the performer's right side.Rate this question:
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- 42.
Which of the following is LEAST LIKELY TO BE a responsibility of a director?
- A.
Coaching actors
- B.
Blocking
- C.
Supervising public relations
- D.
Scheduling rehearsals
- E.
Monitoring budgets
Correct Answer
C. Supervising public relationsExplanation
A director's main responsibility is to oversee the artistic and creative aspects of a production, such as coaching actors, blocking (determining the movement and positioning of actors on stage), scheduling rehearsals, and monitoring budgets. While a director may have some involvement in public relations, it is typically not their primary responsibility. Public relations is usually handled by a separate department or individual within a theater company or production team. Therefore, supervising public relations is least likely to be a responsibility of a director.Rate this question:
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- 43.
Stage movement
- A.
Is used more sparingly than movement in real life
- B.
Can be varied by direction, speed, and amount
- C.
Should carry meaning to an audience
- D.
All of the above
- E.
Only b and c
Correct Answer
E. Only b and cExplanation
Stage movement in a theatrical production is not meant to replicate real life movement, but rather to serve a purpose and convey meaning to the audience. It can be varied in terms of direction, speed, and amount, allowing the actors to create a visually engaging and meaningful performance. Therefore, the correct answer is "only b and c" as both options accurately describe the characteristics and importance of stage movement.Rate this question:
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- 44.
A scene whose point was that character A had no friends might be blocked based on which of these sayings?
- A.
She ran rings around him
- B.
He was way off in the blue
- C.
He came between them
- D.
He is at the center of things
- E.
She rose to the occassion
Correct Answer
B. He was way off in the blueExplanation
In the given question, the saying "he was way off in the blue" suggests that character A had no friends. This saying implies that character A was isolated or distant from others, indicating his lack of social connections. The phrase "way off in the blue" conveys a sense of being far away or disconnected, which aligns with the idea of character A not having any friends.Rate this question:
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- 45.
Briefly explain the differences between internal approaches to acting and external approaches to acting.
- 46.
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.
- 47.
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?
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Mar 22, 2023Quiz Edited by
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Jul 17, 2009Quiz Created by
William.loudermi
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