Theatre

Arts 2- Final Exam

Terrin Adair

TRUE/FALSE:

1. The French were the leading inspiration to the Renaissance.

2. The 18th Century is a period known as The age of enlightenment.

3. The French Academy was dedicated to the Neo-Classical rules that dictated
the work of the playwright.

4. Verisimilitude requires the use of a ghost to achieve the ending dues ex
machina.

5. The unities were forbidden in the French Neo-classical Theatre.

6. The French went to Medieval critics to formulate the Neo-classical ideals.

7. Decorum involves a characters behavior in drama.

8. Such devices as the soliloquy were replaced by the use of a confidant with the
proper adherence to the Neo-classical rules.

9. Moliere was greatly influenced by Commedia dell Arte.

10. Comedy of manners was the most popular form of theatre during the
Restoration.

11. Comedy of manners focused on the lower classes and their lack of decorum.

12. Comedy of manners enjoys verbal wit, double entendres and the escapades of
the upper classes.

13. High comedy with themes of gossip and adultery are aspects of Comedy of
Manners.

14. Breeches parts, also known as pants parts, were a theatrical convention used
to show off a mans legs in the Restoration period.

15. The stock type characters of the Restoration had names that summed up the
qualities found within each particular role.

16. The Restoration brought strong Italian influences to the English stage
practices.

17. The audience of the 18th century drama was primarily the noble class.

18. Sentimental drama revolted against the amoral attitude of the Restoration
drama.
19. During the 18th century the middle class calls for more clear-cut moral
standards in drama and theatre.

20. By the 18th century most of Europe adheres to the neoclassical rules in
dramatic works.

21. The 18th century is known mostly for Sentimental Drama in Theatre.
22. In Germany, as the century progress, many playwrights rebel against the
neoclassical rules.

23. Sturm and Drang was a movement, known as Storm and Stress that
reinforced the ideas behind neoclassicism in theatre.

24. The 19th century saw the development of the factory system, industrial
revolution and urbanization.

25. In the 19th century theatre was at its most popular heights because the upper
class audiences began to attend the theatre.
26. Melodrama removed the element of music to add more suspense to the action.
27. Melodrama was escapist drama and was embraced by the lower class
audiences.
28. In Melodrama there is strict moral judgment and the punishment fits the
crime.
29. Romanticism was greatly influenced by the German Storm and Stress
movement.
30. In Romanticism the hero is most often a social outcast who questions justice,
pursues knowledge and truth.
31. In the 19th century the large theatre buildings were torn down and replaced
with smaller theatres because the audience lost interest in the theatre as a
form of entertainment.

32. Realism is a style of theatre that emphasizes details of contemporary life and
accuracy in the details of the stage setting and dress.
33. Ibsen and Chekov are considered the fathers of modern drama.

34. Ibsen was born in Norway and wrote A Dolls House, Ghosts, and Hedda
Gabler.

35. Chekov wrote Uncle Vanya, The Three Sisters, and The Seagull.
36. Stanislavski founded a new system of acting, which lent itself to the new anti-
realistic theatre movements.

37. Konstantin Stanislavski established the Moscow Art Theatre; and was inspired
by the work of Anton Chekov and his plays.

38. Naturalism was an extreme form of Anti-Realistic theatre.

39. Symbolism was the leading realistic movement between 1880 and 1910.
40. Anti-realism and realism both sought to bring about social change but were at
odds with how to accomplish these goals.
41. Meyerhold was a Russian director associated with biomechanics and
constructivism who used a realistic box setting to achieve his goals.
42. The Independent Theatre Movement was a group of small theatres throughout
Europe that formed to get around the restrictions against the new forms of
theatre such as: Realism, Naturalism and Anti-Realism.

43. Between the start of WWI to the end of WW II drastic changes lead to
instability in the world and during this time theatre attempts to mirror the
madness with many new forms of theatre.

44. Theatre of unrest includes such movements as: Expressionism, Futurism,
Dadaism, and Surrealism.

45. Theatre of Cruelty was a term furthered by Konstantin Stanislavski.

46. Bertolt Brechts plays were often called epic because the used episodic
structure rather than dramatic structure.

47. Bertolt Brecht was a realistic director who saw the great potential in the forth
wall concept.

48. Historification, alienation, and use of a gestus were all aspects of Brechts epic
theatre.
49. A political message that re-states the ideas in capitalism are at the center of
Brechts work.

50. Many realists were inspired by Asian theatre convention and practices.
51. The ideas behind Existentialism inspire Theatre of the Absurd.

52. Symbolism explored through images and metaphors the inner realities which
cannot be directly or literally perceived.

53. A Director should have a clear understanding of genres, styles and theatrical
conventions in order to make educated choices for a production.

54. The theatrical conventions of the past have very little influence on current
modern theatre.

MULTIPL CHOICE:
55. Which of the following was a principal female actress during the Restoration:
a. Eleanor Nell Gwynn
b. Catherine de Medici
c. Aphra Behn
d. Marie Dumesnil
e. All of the above are

56. Which of the following is not a point about Moliere:
a. Influenced by Commedia del Arte
b. Wrote Tartuffe and The Miser
c. A loyal member of the French Academy and spokesmen for the rules
of Neo-classicism.
d. Was an actor and considered one of the best in comedy for his day
e. All of these are points about Moliere

57. Which of the following is not a point of Neoclassicism:
a. Decorum
b. Verisimilitude
c. Unities of time, action, place
d. Mixture of comic and serious
e. All of these are points

58. The primary audience base of Restoration Comedy was:
a. Lower class
b. Middle class
c. Upper class
d. All of these
e. None of these


59. Which of these was not a feature of Restoration Comedy:
a. Wit and clever dialogue
b. Characters who have names that sum them up
c. High religious tone and moral attitudes
d. Manners of the day and lifestyles of the upper class
e. All of these were features of Restoration Comedy

60. Which of the following is not associated with the Restoration period:
a. Moral and sentimental drama
b. Comedies of manners
c. Women on the stage
d. Restoration tragedy
e. All of these are associated

61. Which of the following is not associated with the German Storm and Stress
movement:
a. Rejection of dramatic rules and uniformity in playwriting
b. Patterned after Shakespeare
c. Episodic Structure
d. Re-emphasis of Neo-classicism and uniformity in playwriting
e. All of the above are associated
62. Which of the following is not a feature of melodrama:
a. Strict moral justice
b. Suspense and extreme reversals
c. Very little music
d. Characters that are stock and dont change
e. All are features of melodrama

63. Which of the following is not part of the 19th century physical theatre:
a. Box set
b. Gas and electric lights
c. 4th wall concepts
d. Individual seating
e. All are parts of the 19th century theatre
64. Which of the following is not part of the Realistic movement:
a. Darwin and Freud
b. Environment and heredity
c. Scientific approach
d. Bertolt Brecht
e. All are parts

65. Which of the following is not true of realist drama?

a. Genres were blended
b. Scenery depicted ordinary living environments that were messy as
their real-life counterparts.
c. Dramatic characters emerged from high-class strata: kings and
princes
d. Doubts, muddles, and confusions became the principal actions of
realistic plays
e. Characters were drawn from everyday life.

66. Which of the following is not associated with a revolt against Realism:
a. Surrealism
b. Symbolism
c. Expressionism
d. Stanislavsky
e. All of the above revolted against realism

67. Which of the following is not associated with the beginnings of modern
theatre:
a. Henrik Ibsen
b. Anton Chekhov
c. The Proscenium Arch and Perspective Scenery
d. Naturalism
e. All of the above are associated
68. This playwright, born in Germany in 1898, emerged from World War I as a
dedicated Marxist and reflected these beliefs in his plays.
a. Antonin Artaud
b. Bertolt Brecht
c. Meyerhold
d. Arthur Miller
e. William Shakespeare
69. Modern theatre
a. Conserved both realistic and non-realistic strains.
b. Preserved primarily realistic strains
c. Preserved non-realistic strains
d. Divorced entirely from realistic and non-realistic strains
e. None of the above

70. What does a director NOT seek in the designer-director collaboration?
a. Personal compatibility
b. A synchrony of artistic and intellectual vision
c. Mutual respect
d. Stage business of the actors
e. Cohesion in stage spectacle
71. Which aspects of rehearsal-during which scenery, lighting, and sound are
added-occurs near the end of the rehearsal process as the play comes closer to
production time:
a. Audition
b. Technical rehearsal
c. Dress rehearsal
d. Blocking
e. The running

72. The timing and placement of a characters entrances, exits, crosses, embraces,
and other major movements is called:
a. Blocking
b. Business
c. Technical supervision
d. Directing
e. Designing
73. Which of the following tasks belong to the director:
a. Arranging the financial backing to perform the play
b. Arranging for the scenery and props
c. Hiring the producer
d. Conceptualizing the play and giving it vision and purpose
e. Managing the crew and technical staff

74. Which person is responsible for the building and operation of stage machinery
and scenery, has charge of lighting crews and industrial scheduling:
a. Technical director
b. Dramaturge
c. Producer
d. Director
e. Stage manager

75. This person is the right arm of the director, attends all rehearsals, responsible
for documenting stage blocking, and important information. This person also
calls the show during technical, dress rehearsals and performances.
a. Technical director
b. Dramaturge
c. Producer
d. Director
e. Stage manager

MATCHING SECTION:
Match the terms at the top of this section with the proper terminology below:
a. Theme
b. Style
c. Action
d. Inciting incident e. Exposition

76. In dramatic structure, the action, that initiates the major conflict of the play.

77. The distinctive behaviors, dress, and language of the characters. The choices
made in the world of the play: the characters, time periods, setting, and
language.

78. What the play means. The abstract issues that grow out of the drama.

79. The events of the play and the story line unfolded.

80. The important information the audience needs to know in order to follow the
main story line.


MATCHING SECTION:
Match the time period at the top of this section with the proper theatre
description below:

a. Greek
b. Roman
c. Medieval
d. Renaissance
e. Restoration

81. A period where spectacle and popular entertainments in the form of games
were at their height.

82. Where western drama is said to have been inspired.

83. A time period when the emphasis was on religious drama.

84. The comedy of manners was the style of the day.

85. The picture frame stage got its start.


MATCHING SECTION:
DESIGNERS: Match the theatre collaborator at the top of this section with the
proper job description below:

a. Costumer b. Lighting c. Sound
d. Make-up e. Set

86. The person in theatre responsible for scenic elements and properties.
Provides a finished model and/or finished elevation and scale ground plan.

87.The person, in theatre responsible for supplying needed costumes and
accessories for productions. This person measures actors, provides finished
renderings, purchase needed fabrics, builds costumes and pulls from stock as
needed.

88. This person designs stage lighting, provides light plot, hangs instruments and
sets down all lighting cues.

89. This person is responsible for providing a complete technical sound design,
maintains equipment, provides microphones as needed and supervises board
operators.

90. This person designs theatrical make-up for production characters, provides
renderings and works with actors on detailed application processes.

 MATCHING SECTION:
Match the terms at the top of this section with the proper terminology below:

a. Ground Plan b. Elevation c. Light Plot d. Rendering
e. Prompt Book

91. A front view drawing generated by the set designer.

92. A map of the stage floor that is drawn to exact scale, giving the birds eye view
of the intended set design configurations.

93. A master copy of the script in which all blocking, cues and important
production information is kept.

94. A master plan showing the placements of lighting instruments and circuit
coordinates.

95. A sketch or drawing of intended design.

MATCHING SECTION:
Match the theatrical style at the top of this section with the proper description of
mode below:

a. expressionism b. naturalism c. symbolist d. dadaism e. absurdism

96. Dramatic action seen through the eyes of the protagonist. Dramatize
subjective states through distortion, striking and often grotesque images, lyric
unrealistic dialogue, and the representation of reality is distorted to
communicate inner feelings.

97. Movement in art between the world wars. Based on presenting the irrational
and attacking traditional artistic values. Art should mirror the madness of the
world.

98. Futility of existence. Rational language is debased and replaced by clichs
and trite or irrelevant remarks. Repetitious or meaningless activity is
substituted for logical actions.

99.Sought to replace realistic representation of life with the expression of an
inner truth. Use of myth, legend, and symbols in an attempt to reach beyond
reality.

100. An extreme form of realism that attempts to show a slice of life.