Theatre History Quiz! Ultimate Trivia Questions!

Johann Wolfgang von Goethe's Goetz von Berlichingen is considered an example of "storm and stress" drama. This term refers to a movement in German literature during the late 18th century that emphasized intense emotions, individualism, and rebellion against societal norms. Goetz von Berlichingen embodies these characteristics through its portrayal of a rebellious and passionate protagonist who challenges the established order. Therefore, the statement "Johann Wolfgang von Goethe's Goetz von Berlichingen is an example of 'storm and stress' drama" is true.

Eugene Ionesco, a renowned playwright, was known for incorporating nonsensical language in his plays. This language served as a tool to highlight the futility of communication. Through his works, Ionesco aimed to showcase the difficulties and limitations of human communication, emphasizing the absurdity and meaninglessness of it. Therefore, the statement "Eugene Ionesco was noted for the nonsensical language in his plays that demonstrated the futility of communication" is true.

August Wilson did indeed found the Black Horizon's Theatre Company in Pittsburgh. The company was established in 1968 and aimed to provide a platform for African American artists to showcase their talents and tell their stories. Wilson, who was a renowned playwright himself, believed in the importance of creating opportunities for black artists and promoting black culture in the theater industry. The Black Horizon's Theatre Company became a significant part of Pittsburgh's cultural scene and contributed to the advancement of African American theater.

The statement indicates that during the period 1976-1985, there was a significant increase in the representation of diverse cultures in theater, including feminist, gay and lesbian, and Hispanic/Chicano theater. This suggests that there was a greater recognition and inclusion of these marginalized groups in the theater industry during that time period.

The Elizabethan and Restoration eras in drama had different moral tones. Elizabethan drama focused on moral and ethical dilemmas, often presenting a clear distinction between good and evil. On the other hand, Restoration drama was characterized by a more cynical and morally ambiguous tone, with a focus on social satire and immorality. Therefore, the statement that the most significant difference between Elizabethan and Restoration drama is in moral tone is true.

During the period between 1896 and 1914, the Theatrical Syndicate had significant control over the majority of legitimate theaters. This implies that they held a dominant position in the theater industry during that time, exerting influence and power over the operations and management of these theaters. The statement suggests that the Theatrical Syndicate was a major force in shaping the theatrical landscape during this specific time period.

Mei Lanfang was indeed the most renowned performer of Peking Opera during the years of 1936-1955. He was a highly acclaimed actor known for his exceptional skills in singing, acting, and acrobatics. Mei Lanfang's performances were highly influential and helped popularize Peking Opera both in China and internationally. His talent and contributions to the art form made him a celebrated figure in the opera world during the specified time period.

Lucille Ball being brought before the House Committee on UnAmerican Activities refers to her being questioned or investigated by the committee. The House Committee on UnAmerican Activities was a congressional committee that sought out individuals believed to be involved in communist activities or sympathies during the Cold War era. Being brought before this committee was seen as a significant event and could have serious consequences for one's reputation and career.

Aphra Behn was indeed the first woman playwright to earn a living by writing. She was a successful writer in the 17th century and is considered a pioneer for women in the field of playwriting. Behn's plays were popular and she was able to support herself financially through her writing, breaking barriers and paving the way for future female playwrights.

Julian Beck and Judith Malina formed The Living Theatre in 1946. The Living Theatre was a groundbreaking experimental theater company known for its politically charged performances and avant-garde approach to theater. They aimed to create a form of theater that engaged with social and political issues, often challenging traditional theatrical conventions. The Living Theatre became an influential force in the Off-Off-Broadway movement and left a lasting impact on the theater world.

The statement is true because the 1940s did indeed mark the start of the Professional Regional Theatre Movement in the U.S. During this time, there was a growing interest in establishing professional theater companies outside of New York City, particularly in smaller cities and towns across the country. This movement aimed to bring high-quality theater productions to audiences across different regions of the U.S., providing opportunities for local actors, directors, and playwrights to showcase their talents. The establishment of regional theaters during the 1940s laid the foundation for the vibrant and diverse theater scene that exists in the U.S. today.

Dadaism was a short-lived style in theatre that mirrored the insanity of war. Dadaism emerged during and after World War I and sought to reject traditional artistic conventions and challenge societal norms. It embraced absurdity, irrationality, and chaos, reflecting the disorienting and destructive nature of war. Dadaist performances often involved nonsensical and provocative elements, aiming to shock and provoke the audience. This style was a direct response to the horrors of war and aimed to express the absurdity and futility of human existence in a world torn apart by conflict.

Richard Wagner is the correct answer because he was a German composer and theater director known for his concept of "Gesamtkunstwerk" or "total artwork." He believed in integrating all aspects of theatrical production, including music, drama, set design, and staging, into a unified whole. Wagner's operas, such as "The Ring Cycle" and "Tristan and Isolde," exemplify his vision of total theatre, where all elements work together to create a transformative and immersive experience for the audience.

Bertolt Brecht actually believed the opposite. He argued that for theatre to succeed at teaching, the audience must not be emotionally engaged throughout the performance. He believed that emotional engagement would distract the audience from critically analyzing the social and political messages conveyed in the play. Instead, Brecht advocated for a technique called "Verfremdungseffekt" or "alienation effect," which aimed to keep the audience intellectually and emotionally detached, allowing them to reflect on the issues presented on stage.

In 1967, the first Rock Opera entitled "Hair" was performed. This answer is correct because "Hair" is a well-known rock musical that debuted in 1967 and is considered to be one of the first rock operas. It explores themes of counterculture, identity, and the Vietnam War, and became a cultural phenomenon during the 1960s.

Strindberg's A Dream Play was most notable because it deviated from realistic drama. This means that the play did not adhere to the conventions and techniques commonly associated with realistic drama, which aims to portray life as it is, with believable characters and situations. Instead, A Dream Play explored more abstract and surreal elements, delving into the realm of dreams and subconscious. This departure from realism allowed Strindberg to delve into deeper psychological and philosophical themes, making the play stand out and challenging traditional theatrical conventions.

George Aiken successfully adapted Uncle Tom's Cabin for the stage in 1853. This adaptation of Harriet Beecher Stowe's novel became immensely popular and was performed widely across the United States. Aiken's adaptation helped to bring the story of Uncle Tom and the horrors of slavery to a larger audience, contributing to the growing abolitionist movement of the time.

Paula Vogel is the correct answer because she won the Pulitzer in 1997 for her play How I Learned to Drive. This play explores the complex and controversial topic of child abuse and its impact on the victim. Vogel's writing skillfully delves into the psychological and emotional dynamics of the characters, earning her recognition and the prestigious Pulitzer Prize.

Sarah Bernhardt and Anne Bracegirdle were not consummate rivals on the English stage. The statement is false.

The statement is false because the largest influx of women to the workforce in the United States actually occurred during World War II, not immediately after. During the war, many men were enlisted in the military, creating a labor shortage, which led to an increase in job opportunities for women. After the war ended, there was a decline in the number of women in the workforce as men returned from war and took back their jobs.

Fiddler on the Roof, a musical by Joseph Stein, marked the end of the "Golden Age of Musical Theatre" in 1964. This era, which began in the 1940s, was characterized by the creation of numerous iconic and groundbreaking musicals. Fiddler on the Roof was one of the last shows of this era and is considered a classic. Set in early 20th century Russia, the musical explores themes of tradition, family, and societal change. Its success and impact on Broadway marked a transition to a new era of musical theatre.

Anna Deavere Smith is the most prominent African-American performance artist currently working in the United States. This is supported by the mention of her notable works, Fires in the Mirror and Twilight in Los Angeles 1992. These works have garnered critical acclaim and established her as a prominent figure in the performance art scene.

William Davenant did not form the acting company called "The King's Men." The correct answer is False.

Jerzy Grotowski, a Polish director, did not create Environmental Theatre. While Grotowski was a highly influential figure in the world of theatre and known for his innovative approaches, Environmental Theatre was actually developed by American theatre practitioner Richard Schechner. Environmental Theatre focuses on creating immersive and interactive experiences for the audience, often involving unconventional performance spaces and breaking the fourth wall.

Lorca is the correct answer because his works were banned from performance until 1975. This was due to the political climate in Spain during the time of his writing, as his plays often criticized and challenged the oppressive regime. The ban on his works was lifted after the death of dictator Francisco Franco, allowing Lorca's plays to finally be performed and recognized for their artistic and social significance.