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Test your basic knowledge |
Theatre Appreciation 2
Start Test
Study First
Subject
:
performing-arts
Instructions:
Answer 50 questions in 15 minutes.
If you are not ready to take this test, you can
study here
.
Match each statement with the correct term.
Don't refresh. All questions and answers are randomly picked and ordered every time you load a test.
This is a study tool. The 3 wrong answers for each question are randomly chosen from answers to other questions. So, you might find at times the answers obvious, but you will see it re-enforces your understanding as you take the test each time.
1. Scenery
Skene
The Globe
Blocking
Proscenium
2. Greatest dramatist of all time
Orchestra
William Shakespeare
Royalty
Callbacks
3. Body (dance - martial arts) - voice (projection - articulation - breathing) - and mind (improve - script analysis - character development)
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4. A picture created by a designer to communicate with other production personnel
Verse
Rendering
Neoclassicism
Neoclassic goals defining verisimilitude
5. A movement of the late 19th century championing the depiction of everyday life on the stage and the frank treatment of social problems in the theatre. The plays of Henrick Ibsen of the 1870s were important in establishing a dramatic style for realism
Dionysus
Realism
Alienation Effect
Actor's tools
6. The central element of causal plot; two forces working against each other
lighting designer
Protagonist
Royalty
Conflict
7. Recognize plays as intellectual property of playwright
collaborator
Musical Theatre
Verse
Copyright
8. Oversees artistic aspects of show
Raked Stage
Dialogue
Director
Stage Manager
9. Humanity's struggle with good and evil
Director
Neoclassic unities
Morality Plays
Director
10. Action - place - time
Chorus
Designer's job
Neoclassic unities
Aesthetic Distance
11. Secondary line of action
Designer
Subplot
Thrust
Designer's job
12. Psychological separation - or a sense of detachment; the recognition that what happens on stage is not reality; literally - 'the distance of art'
Royalty
Reversal
Aesthetic Distance
Neoclassicism
13. The stage area closest to the audience; on the raked stage of the Renaissance theatres - the stage literally sloped downward as it got closer to the audience
Neoclassicism
Downstage
Rendering
Aristotle's Six Elements of a Play
14. Convincing actors were too powerful a tool of persuasion
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15. Bertolt Brecht; wanted audience to think about what they were seeing rather than blindly feel. Accomplished by interrupting dramatic moments.
Mystery Plays
Alienation Effect
Concept
Emile Zola
16. Purgation of pity and fear experienced upon watching theater.
Catharsis
Theatron
Slapstick
Callbacks
17. A musical play that tells a story and has spoken words as well as songs
Off-Broadway
Costume Designer
Director
Book musical
18. Collection of mystery plays
The Orestia
Catharsis
Aristotle
Cycles
19. created by Augest von Schegel - the replacement of neoclassical structure: form should be directed by subject matter - not classical precedent. Romantics were fascinated with natural forces - the unexplainable - gothic - and mystical. Romantics drama
Romantic Theory
The Orestia
Arena
Antagonist
20. A chart that records items of clothing worn by each actor in each scene of the play
Neoclassic goals defining verisimilitude
Costume plot
Prose
Catharsis
21. A movement that rejected nearly every aspect of neoclassicism - celebrated the natural world - and valued intense emotion and individuality.
Romantic Theory
Romanticism
Hypokrites
Alienation Effect
22. Controls the environment in the theatre - influence audience's emotional involvement - and communicate information (time and place).
Pageants
Emile Zola
Designer
Stage Manager
23. Artistic decisions meant to communicate a specific interpretation of a play to the audience.
Antagonist
Producer
Concept
Rendering
24. Invented by the Italians - a large open arch that marks the primary division between audience and performance space in a proscenium space. The proscenium arch frames the action of the play for the audience and limits the view of backstage areas
Protagonist
Proscenium
Auteur
Subplot
25. Commercial (meant to make profit). Non-profit (profits go to production of future plays. May be professional or amateur.)
Types of professional theater
Costume plot
Costume Designer
Director
26. When line of action suddenly switches
Types of professional theater
Commedia Dell'Arte
Concept
Reversal
27. Purgation of pity and fear experienced upon watching theater.
Costume Designer
Catharsis
Aesthetic Distance
Slapstick
28. 'seeing place'
Reversal
Duke of Saxe Meiningen
Chorus
Theatron
29. Spoken words
Dialogue
Sense memory
Broadway
Prose
30. : a specialist in finding actors for specific roles who assists the director in some professional productions
Antagonist
Casting Director
Stage manager
Emile Zola
31. Art that pushes recognized boundaries
Thrust
Commedia Dell'Arte
Avant-Garde
Stage Manager
32. Director champions intention of playwright
collaborator
Neoclassicism
sound designer
sound designer
33. Plays performed by the clergy in latin as part of the worship service in Christian monasteries and cathedrals during the Middle Ages.
Conflict
Liturgical Drama
Slapstick
Designer's job
34. A flexible performance space (usually small) in which the actor/audience configuration can be easily changed for each production
Neoclassic goals defining verisimilitude
Proscenium
Presentational
Black box
35. Plot - character - thought - language - music - spectacle
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36. Psychological separation - or a sense of detachment; the recognition that what happens on stage is not reality; literally - 'the distance of art'
Liturgical Drama
Designer
Aesthetic Distance
Components of Actor's job
37. 'old comedy'. Lewd humor - attacks on government
Duke of Saxe Meiningen
Neoclassicism
Rhetorical Tradition
Aristophanes
38. Grecian attributed to writing the first tragedies then acting in them.
Rhetorical Tradition
Thespis
Thrust
Linear Plot
39. Written by Aeschylus. Only surviving trilogy
Linear Plot
Dionysus
The Orestia
Liturgical Drama
40. Bertolt Brecht; wanted audience to think about what they were seeing rather than blindly feel. Accomplished by interrupting dramatic moments.
Realism
Alienation Effect
Theatron
Plato
41. Didn't support theater. Believed a convincing actor was harmful to society
Plato
Director
Playwright
Proscenium
42. The actors recall of sights - sounds - touch - and smell from specific past events.
Conflict
Sense memory
Emile Zola
Rhetorical Tradition
43. 'seeing place'
Theatron
Aesthetic Distance
Off-Broadway
Rhetorical Tradition
44. Wrote the Orestia which is the only surviving trilogy
Duke of Saxe Meiningen
Perspective Scenery
Prose
Aeschylus
45. Biblical stories. From word Misterium meaning crafts/guild
Neoclassic unities
Mystery Plays
Theatron
Slapstick
46. Father of Epic theater - wanted people to think about what they were seeing - alienation effect.
Skene
Bertolt Brecht
Eugene Scribe
Presentational
47. A specialist in dramatic literature and theatre history who serves as a consultant for production
Dionysus
Dramaturg
Stage manager
William Shakespeare
48. A picture created by a designer to communicate with other production personnel
Director
Concept
Rendering
Director
49. 'dancing space'
Book musical
Producer
Orchestra
Empathy
50. Creates a soundtrack to support the show. It may be recorded or live
sound designer
Aesthetic Distance
Mystery Plays
Blocking