Thar 1310 quizzes

Topics: ArtArtists

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Last updated: November 29, 2019

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 spectatorsboth have specialized dress for their participantsboth 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
verbalmathematicalmusical

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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