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The Theatre Experience 14Th Edition By Edwin Wilson – Test Bank
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The Theatre Experience, 14e (Wilson)
Chapter 2 The Background and Expectations of the Audience
1) A question that is NOT one of the criteria by which to judge a play and a production is
- A) “What is being attempted?”
- B) “Have the intentions been achieved?”
- C) “Were the intentions appreciated by the audience?”
- D) “Was the attempt worthwhile?”
Answer: C
Bloom’s: Remember
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LO: List the three criteria for criticism
2) A critic might offer background information about the
- A) playwright.
- B) subject matter of the play.
- C) style of the production.
- D) All of these answers are correct.
Answer: D
Bloom’s: Remember
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LO: Describe the use of facts when reading commentary by a critic/reviewer
3) A critic usually has more ________ than a reviewer.
- A) time
- B) space
- C) knowledge
- D) All of these answers are correct.
Answer: D
Bloom’s: Remember
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LO: Identify the characteristics of a critic
4) Which of the following usually works for a television station, a newspaper, or a magazine and reports on what has occurred at the theatre?
- A) reviewer
- B) critic
- C) both reviewer and critic
- D) neither reviewer nor critic
Answer: A
Bloom’s: Remember
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LO: Identify the characteristics of a critic
5) Which of the following attempts to go into greater detail in describing or analyzing a theatre event?
- A) reviewer
- B) critic
- C) both reviewer and critic
- D) neither reviewer nor critic
Answer: B
Bloom’s: Remember
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LO: Identify the characteristics of a critic
6) Which of the following will often try to explain how the theatre event fits into a category or genre, or into the body of the playwright’s work?
- A) reviewer
- B) critic
- C) both reviewer and critic
- D) neither reviewer nor critic
Answer: B
Bloom’s: Remember
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LO: Describe the use of facts when reading commentary by a critic/reviewer
7) Which of the following is usually restricted by time, space, or both?
- A) reviewer
- B) critic
- C) both reviewer and critic
- D) neither reviewer nor critic
Answer: A
Bloom’s: Remember
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LO: Identify the characteristics of a critic
8) Which of the following is frequently limited in terms of experience and theatrical background?
- A) reviewer
- B) critic
- C) both reviewer and critic
- D) neither reviewer nor critic
Answer: A
Bloom’s: Remember
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LO: Identify the characteristics of a critic
9) Which of the following attempts to analyze a theatre event very closely?
- A) reviewer
- B) critic
- C) both reviewer and critic
- D) neither reviewer nor critic
Answer: B
Bloom’s: Remember
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LO: Describe the use of facts when reading commentary by a critic/reviewer
10) Which of the following might offer an opinion about whether or not the event is worth seeing?
- A) reviewer
- B) critic
- C) both reviewer and critic
- D) neither reviewer nor critic
Answer: C
Bloom’s: Remember
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LO: Identify the characteristics of a critic
11) Which of the following attempts to put the theatre event into a larger context?
- A) reviewer
- B) critic
- C) both reviewer and critic
- D) neither reviewer nor critic
Answer: B
Bloom’s: Understand
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LO: Describe the use of facts when reading commentary by a critic/reviewer
12) Which of the following is NOT a responsibility of a dramaturg?
- A) researching criticism of past productions of plays their theatre is doing
- B) writing research notes or small articles most often used in the programs for the audience’s benefit
- C) production research to determine the style of the play that the director will employ
- D) identifying older yet meaningful plays that may have been overlooked in planning a theatre season
Answer: C
Bloom’s: Remember
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LO: Recall the responsibilities of a dramaturg
13) Because a “collective mind” is created when a large number of people are gathered into a group, the background of the individual spectator has little to do with the theatre experience.
Answer: FALSE
Bloom’s: Remember
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LO: Demonstrate that individual audience backgrounds contribute to our viewing experience
14) Women comprised the largest part of the audience in ancient Greece.
Answer: FALSE
Bloom’s: Remember
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LO: Describe the relationship between theatre and society
15) Because artists are often accused of being “antisocial,” “subversive,” or “enemies of the state,” and are thus outsiders, the art that they produce is often unrelated to the society in which it is produced.
Answer: FALSE
Bloom’s: Remember
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LO: Describe the relationship between theatre and society
16) Art may question society’s views or reaffirm them, but it cannot escape them; the two are indissolubly linked.
Answer: TRUE
Bloom’s: Remember
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LO: Describe the relationship between theatre and society
17) While the latter part of the fifth century B.C.E. in Greece is considered to be a golden age for politics, philosophy, art, and architecture, for the theatre is was a time of decline.
Answer: FALSE
Bloom’s: Remember
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LO: Describe the relationship between theatre and society
18) During the Elizabethan era, women were barred from performing on the legitimate stage.
Answer: TRUE
Bloom’s: Remember
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LO: Describe the relationship between theatre and society
19) The bringing together of cultures by population shifts and swift global communication, and the challenges to long-held beliefs characterized by the writings of Charles Darwin, Karl Marx, Sigmund Freud, and Albert Einstein, are reflected in the eclecticism and fragmentation of an inclusive, contemporary theatre.
Answer: TRUE
Bloom’s: Remember
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LO: List a few of the major discoveries and viewpoints of the past century and a half
20) Although their societies were vastly different, both the Greek and Elizabethan theatres shared a strong connection between the type of theatre they presented and the times and social conditions they lived in.
Answer: TRUE
Bloom’s: Remember
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LO: Describe the relationship between theatre and society
21) While Broadway theatres are all within the district near Times Square in New York City, the styles of their architecture and types of their stages vary considerably.
Answer: FALSE
Bloom’s: Remember
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LO: Identify Broadway theatre and where it is located
22) To perform in repertory means to present a series of plays over a given span of time.
Answer: TRUE
Bloom’s: Remember
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LO: Identify characteristics and companies associated with regional theatre
23) Until the early 1950s, most new plays written in the United States originated in regional theatres.
Answer: FALSE
Bloom’s: Remember
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LO: Identify characteristics and companies associated with regional theatre
24) Off-Broadway theatre began in the 1950s as an alternative to Broadway and is located in smaller theatres outside the Times Square district.
Answer: TRUE
Bloom’s: Remember
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LO: Describe characteristics associated with off-Broadway and off-off-Broadway theatre
25) While the trend toward diversity in the American theatre has given birth to many multiethnic, multicultural, and gender-based theatre companies representing groups with special interests, plays produced by these theatres rarely enter the mainstream of American theatre.
Answer: FALSE
Bloom’s: Remember
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LO: Explain that modern theatre offers a variety of experiences
26) Off-Broadway shows are usually produced wherever inexpensive space is available—churches, lofts, warehouses, large basements—and are characterized by low-priced productions and a wide variety of offerings.
Answer: TRUE
Bloom’s: Remember
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LO: Describe characteristics associated with off-Broadway and off-off-Broadway theatre
27) Live theatre is actually flourishing throughout the United States; even in areas where professional theatre may not be present, there are typically active college and university theatre programs in addition to numerous amateur community theatre groups.
Answer: TRUE
Bloom’s: Remember
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LO: Label various experiences in modern theatre
28) When a person watches a play, it is expected that they will ignore their own individual memories, emotional scars, and private fantasies.
Answer: FALSE
Bloom’s: Remember
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LO: Explain the ways the audience brings our unique knowledge to viewing the theatre event
29) Women played an important role in the creation of Greek theatre during the classical period.
Answer: FALSE
Bloom’s: Remember
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LO: Describe the relationship between theatre and society
30) If a reviewer dislikes a particular production, it is probably best to avoid it.
Answer: FALSE
Bloom’s: Remember
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LO: State the role of criticism and its limitations
31) A critic should treat a play as an aesthetic object separate from its social, political, or cultural context.
Answer: FALSE
Bloom’s: Understand
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LO: Identify the characteristics of a critic
32) Because the reviewer should represent the tastes of the general public, it is not important that he or she have a thorough background in theatre.
Answer: FALSE
Bloom’s: Remember
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LO: Identify the characteristics of a critic
33) No matter how knowledgeable a critic is about theatre, much of what he or she writes is simply opinion.
Answer: TRUE
Bloom’s: Remember
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LO: Describe the use of facts when reading commentary by a critic/reviewer
34) One unique aspect of Maria Irene Fornés’s play Fefu and Her Friends, described in the text, is that during one part of the play the audience is divided into four groups and taken to different locations to view scenes.
Answer: TRUE
Bloom’s: Remember
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LO: Describe the use of facts when reading commentary by a critic/reviewer
35) In their work for most regional professional theatres, the dramaturgs are responsible for examining new plays, researching plays the theatre is producing, and possibly working with playwrights on developing new scripts.
Answer: TRUE
Bloom’s: Remember
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LO: Recall the responsibilities of a dramaturg
36) Discuss a work of art that has had a particularly strong effect on you because of a personal experience that was reflected in it. How did your experience influence your response? Have other students had similar experiences?
Answer: Answers will vary.
Bloom’s: Understand
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LO: Explain the ways the audience brings our unique knowledge to viewing the theatre event
37) Analyze the culture of a particular society at a time when theatre thrived—Greece in the fifth century B.C.E., Europe in the middle ages, Elizabethan England, France in the seventeenth century—and discuss the basic assumptions of that society. Read and discuss a play which reflects the assumptions of the society.
Answer: Answers will vary.
Bloom’s: Understand
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LO: Describe the relationship between theatre and society
38) Assume that you are going to the theatre. Choose a specific play, perhaps one you are asked to attend for class assignment, and list the preconceptions you might take with you (regarding subject matter, author, the play itself, the historical period in which it was written, and personal factors). Where do your preconceptions come from and why?
Answer: Answers will vary.
Bloom’s: Apply
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LO: Explain the ways the audience brings our unique knowledge to viewing the theatre event
39) Discuss Lorraine Hansberry’s A Raisin in the Sun, written in 1959, in the context of the kind of issues that were at the center of the civil rights marches of the 1960s. Discuss As Is by William Hoffmann or The Normal Heart by Larry Kramer (both produced in 1985) in the context of the treatment and understanding of gays at the height of the AIDS crisis.
Answer: Answers will vary.
Bloom’s: Apply
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LO: Describe the relationship between theatre and society
40) The text notes that sometimes artists are accused of being antisocial, subversive, or enemies of the state or of common morality. Can you think of any contemporary artists that are sometimes described in these pejorative terms and why? What do people object to in their art? Do the stories we tell and the images we share affect the people who see them? In what way? Should our society be concerned about the stories and images that are being produced? To what extent should those images be controlled in the best interests of the society?
Answer: Answers will vary.
Bloom’s: Analyze
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LO: Describe the relationship between theatre and society
41) There is great disagreement over the issue of whether art can create changes in a society or whether it merely reflects what is already happening. How do you feel about this? How does your opinion relate to the issue of censorship? Should art that many people believe goes against societal values be suppressed? Why or why not?
Answer: Answers will vary.
Bloom’s: Analyze
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LO: Describe the relationship between theatre and society
42) For many years, women were not allowed to perform on the stage. How might this fact have affected plays written during that time? How might it have affected the way women were portrayed? How might contemporary drama, film, and television change if women were not allowed to act, direct, write or produce? How might they change if men were not allowed to act, direct, write or produce?
Answer: Answers will vary.
Bloom’s: Analyze
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LO: Describe the relationship between theatre and society
43) Theatre productions have a variety of purposes: to entertain, to offer escape, to provoke thought or political action, to educate, etc. Discuss your favorite television shows in terms of these purposes. Which purpose or purposes mentioned above do they have?
Answer: Answers will vary.
Bloom’s: Apply
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LO: List the three criteria for criticism
44) As the text indicates, many theatres are devoted to the experiences and interests of specific groups of people. Discuss why such theatres might be valuable to members of those groups. What might be the effect on people if the stories and images they encounter did not include people and experiences that reflected their own? If the representation of these experiences is separated from the experiences of other groups, does this weaken the connections between groups of people? If you are not a member of a particular group, would you be inclined to go to such a theatre? Why or why not?
Answer: Answers will vary.
Bloom’s: Analyze
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LO: Demonstrate that individual audience backgrounds contribute to our viewing experience
45) Describe the ideal qualifications for (a) a daily newspaper reviewer; (b) a television reviewer; (c) a magazine critic; (d) the author of a lengthy theatre article for a scholarly journal.
Answer: Answers will vary.
Bloom’s: Understand
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LO: Identify the characteristics of a critic
46) The two essential elements of theatre are a performance and an audience. Since the critic is not one of the essential elements, do we really need a critic at all?
Answer: Answers will vary.
Bloom’s: Understand
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LO: State the role of criticism and its limitations
47) What are the advantages of reading reviews and criticisms before going to a performance? What are the advantages of waiting until after a performance to read or hear criticism?
Answer: Answers will vary.
Bloom’s: Understand
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LO: State the role of criticism and its limitations
48) Looking at most newspaper, television or blog reviews, would you say there is much difference between these accounts of a theatre event and consumer reports on a given product? Explain your answer.
Answer: Answers will vary.
Bloom’s: Analyze
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LO: Identify the characteristics of a critic
49) Read professional critics’ reviews of three current Broadway plays. Find three different reviews for each play—one that is positive, one that is negative, and one that is mixed. Identify quotes from each review that prompted you to feel this way. (Broadwayworld.com provides links to professional reviews as does Playbill.com. This is an excellent way to examine students’ critical reading skills and gives you an idea about their basic writing skills as well. Use the assignment fairly early in the semester.)
Answer: Answers will vary.
Bloom’s: Apply
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LO: Identify the characteristics of a critic
50) Discuss the relationship between the importance of reviews and the price of tickets to an event. When ticket prices are high, will people tend to rely more on reviews in making a decision about whether to attend an event?
Answer: Answers will vary.
Bloom’s: Apply
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LO: State the role of criticism and its limitations
51) In the English theatre of the seventeenth century, spectators at plays were allowed to watch the first act of a production without paying for a ticket. After the first act was over, they had to either buy a ticket or leave the theatre. What effect might this have on the role of the reviewer? Of the critic?
Answer: Answers will vary.
Bloom’s: Analyze
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LO: List the three criteria for criticism
52) Discuss which is more important in making a decision as to whether to attend an event: reviews, or the advice of a friend? Why?
Answer: Answers will vary.
Bloom’s: Apply
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LO: State the role of criticism and its limitations
53) What is the relationship of awards such as the Tony Awards or the Academy Awards to reviews? Are they themselves reviews? Are they influenced by reviews? Are they influenced by box office revenue?
Answer: Answers will vary.
Bloom’s: Analyze
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LO: Describe the use of facts when reading commentary by a critic/reviewer
54) Discuss how important it is to be able to talk after the performance about a play or movie. Do people tend to go beyond “I liked it” or “I didn’t like it” to discuss why they felt that way, or what the event was about?
Answer: Answers will vary.
Bloom’s: Apply
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LO: List the three criteria for criticism
The Theatre Experience, 14e (Wilson)
Chapter 4 Acting for the Stage
1) Which of the following is NOT one of the responsibilities of a performer in the theatre?
- A) To create and project the inner life of the character
- B) To move onstage with ease and authority
- C) To interact with other performers onstage
- D) To coordinate the elements and the vision of the production
Answer: D
Bloom’s: Remember
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LO: Recall the three main challenges of acting
2) Which of the following is NOT a performance technique developed by Stanislavski?
- A) Through line
- B) Biomechanics
- C) Concentration and observation
- D) Magic if
Answer: B
Bloom’s: Remember
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LO: Describe what it means to make acting believable
3) Which of the following best characterizes acting in classical Asian theatres?
- A) Stylization and symbolism
- B) Emphasis on the internal
- C) Simplicity and integration
- D) Emphasis on emotional recall
Answer: A
Bloom’s: Remember
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LO: Explain the importance of vocal and physical training for the actor
4) In order to throw the voice into the audience so that it penetrates to the utmost reaches of the theatre, the actor must
- A) develop a strong through line.
- B) utilize the “magic if.”
- C) project.
- D) face forward at all times.
Answer: C
Bloom’s: Remember
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LO: Understand the importance of vocal and physical training for the actor
5) In response to the new realistic drama of the late nineteenth century, ________ devised a system to teach performers how to achieve the necessary believability.
- A) Henry Irving
- B) Henrik Ibsen
- C) Jacques Copeau
- D) Konstantin Stanislavski
Answer: D
Bloom’s: Remember
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LO: Identify the Stanislavski System as the first system for teaching realistic acting
6) Ensemble acting emphasizes the
- A) vocal qualities of the each character.
- B) physical aspects of a performance.
- C) individual performances of each actor.
- D) artistic unity of a group performance.
Answer: D
Bloom’s: Remember
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LO: Describe what it means to make acting believable
7) In order for a performer to convincingly play a role, he or she must synthesize the inner and outer aspects of training through a process called
- A) amalgamation.
- B) union.
- C) integration.
- D) alliance.
Answer: C
Bloom’s: Remember
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LO: Recall the importance of synthesis and integration in actor training
8) The program developed by Vsevolod Meyerhold that emphasizes physical exercises and circus-like control of the body is known as
- A) biomechanics.
- B) integration.
- C) viewpoints theory.
- D) pantomime.
Answer: A
Bloom’s: Remember
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LO: Explain the importance of vocal and physical training for the actor
9) “Centering” involves finding the place where all the lines of force in the body come together. It is located, roughly, in the
- A) middle of the torso.
- B) point between the eyes.
- C) palms of the hands and the balls of the feet.
- D) middle of the back.
Answer: A
Bloom’s: Remember
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LO: Explain the importance of vocal and physical training for the actor
10) Stanislavski’s early research into realistic acting techniques was conducted while he was directing many plays by
- A) Henrik Ibsen.
- B) William Shakespeare.
- C) Anton Chekhov.
- D) August Strindberg.
Answer: C
Bloom’s: Remember
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LO: Identify the Stanislavski System as the first system for teaching realistic acting
11) Another term for a through line is
- A) psychophysical action.
- B) circle of attention.
- C) spine.
- D) magic if.
Answer: C
Bloom’s: Remember
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LO: Describe what it means to make acting believable
12) Which of the following best characterizes Stanislavski’s later approach to actor training?
- A) Development of emotions leading to action
- B) Focus on emotional recall
- C) Purposeful action as the most direct route to the emotions
- D) Emphasis on physical exercises and body control
Answer: C
Bloom’s: Remember
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LO: Identify the Stanislavski System as the first system for teaching realistic acting
13) How can we tell if performers are playing well together?
- A) Every performer moves to the front of the stage to deliver their lines.
- B) They each deliver their lines loudly and are heard clearly.
- C) They maintain contact with the audience.
- D) They are listening to each other and responding appropriately.
Answer: D
Bloom’s: Remember
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LO: Describe the importance of understanding performance techniques in order to critically judge performances
14) “Viewpoints” theory is an approach to acting that originated in the United States and combines dance and stage movement with concepts of
- A) psychological realism.
- B) sound and singing.
- C) time and space.
- D) color and light.
Answer: C
Bloom’s: Remember
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LO: Explain the importance of vocal and physical training for the actor
15) What are the two types of acting that we see in daily life?
- A) Impression and interpretation
- B) Imitation and interpretation
- C) Interpretation and role playing
- D) Imitation and role playing
Answer: D
Bloom’s: Remember
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LO: Recall that acting in everyday life takes two forms
16) In which way is the approach of Lee Strasberg different from the approach of acting teachers like Stella Adler, Sanford Meisner, and Uta Hagen?
- A) It uses past emotion as a springboard into action.
- B) It believes in psychophysical action as the way to emotions.
- C) It emphasizes the inner aspects of acting.
- D) It focuses on the actor’s body and how to use it to shape character.
Answer: C
Bloom’s: Remember
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LO: Describe what it means to make acting believable
17) Which of the following acting teachers encouraged students to use the text as an instrument of action through exercises such as the “Content-less Scene”?
- A) Stella Adler
- B) Lee Strasberg
- C) Sanford Meisner
- D) Robert Cohen
Answer: D
Bloom’s: Remember
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LO: Describe what it means to make acting believable
18) Actors have reported that technology has helped them in all but which of the following ways:
- A) emailing headshots and resumes rather than having printed copies
- B) offering discounts on tickets and performances through websites
- C) auditioning via Skype or FaceTime when unable to be at a physical audition
- D) connecting with fans on Twitter and other social media sites
Answer: B
Bloom’s: Remember
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LO: Recall how technology has changed the acting profession
19) The style of puppet most recognizable to Western audiences and does not have strings or other items attached to the head and limbs for control is called
- A) Shadow puppet
- B) Marionette
- C) Hand puppet
- D) Rod puppet
Answer: B
Bloom’s: Remember
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LO: Recall elements of puppet-based theatre
20) In regards to role playing in everyday life, what is the name we give to the roles we develop with our family and friends?
- A) Social roles
- B) Personal roles
- C) Professional roles
- D) Complementary roles
Answer: B
Bloom’s: Remember
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LO: Recall the definition of personal roles
Match the following Stanislavski acting techniques to the phrase that best describes them.
- A) Ensemble
- B) Psychophysical action
- C) Magic if
- D) Circle of attention
- E) Relaxation
- F) Importance of specifics
- G) Super objective
- H) Given circumstances
- I) Inner truth
21) Purposeful action undertaken to fulfill a character’s goals as the most direct route to the character’s emotions
Bloom’s: Remember
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LO: Identify the Stanislavski System as the first system for teaching acting
22) Concentration on some object, person, or event while onstage
Bloom’s: Remember
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LO: Identify the Stanislavski System as the first system for teaching acting
23) Internal or subjective world of the characters
Bloom’s: Remember
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LO: Identify the Stanislavski System as the first system for teaching acting
24) The elimination of unwanted tension
Bloom’s: Remember
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LO: Identify the Stanislavski System as the first system for teaching acting
25) What the character wants above all else during the course of the play
Bloom’s: Remember
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LO: Identify the Stanislavski System as the first system for teaching acting
26) The specifics of the situation in which a character exists
Bloom’s: Remember
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LO: Identify the Stanislavski System as the first system for teaching acting
27) Imagining how the actor would feel in a particular situation
Bloom’s: Remember
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LO: Identify the Stanislavski System as the first system for teaching acting
28) Expressing an emotion in terms of concrete activities
Bloom’s: Remember
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LO: Identify the Stanislavski System as the first system for teaching acting
29) The playing together of all performers
Bloom’s: Remember
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LO: Identify the Stanislavski System as the first system for teaching acting
Answers: 21) B 22) D 23) I 24) E 25) G26) H 27) C 28) F 29) A
30) In order for an actor or actress to properly prepare a role, he or she should always begin with an outer aspect such as a walk, a posture, or a peculiar vocal delivery, and then develop the inner life of the character.
Answer: FALSE
Bloom’s: Remember
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LO: Describe what it means to make acting believable
31) The realistic portrayal of characters in a lifelike fashion has been characteristic of theatre throughout history.
Answer: FALSE
Bloom’s: Remember
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LO: Describe what it means to make acting believable
32) Performers must not mix acting methods; they should find a single method that works for them and then strictly adhere to that method’s approach.
Answer: FALSE
Bloom’s: Remember
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LO: Recall the importance of synthesis and integration in actor training
33) Unlike in classical plays, adept physical movement is not required of the actor in a realistic play.
Answer: FALSE
Bloom’s: Remember
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LO: Explain the importance of vocal and physical training for the actor
34) While there have been changes and modifications over the years to Stanislavski’s approach to realistic acting, his theories continue to form the basis for most acting training.
Answer: TRUE
Bloom’s: Remember
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LO: Identify the Stanislavski System as the first system for teaching acting
35) Because it is important that the audience not be distracted while a character is speaking, Stanislavski believed that the other actors should, in essence, stop acting when they were not the main focus of the scene.
Answer: FALSE
Bloom’s: Remember
Accessibility: Keyboard Navigation
LO: Describe what it means to make acting believable
36) Acting is only a collection of individual performances, and performers do not need to support each other on stage.
Answer: FALSE
Bloom’s: Remember
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LO: Describe the importance of understanding performance techniques in order to critically judge performances
37) Role playing can be divided into two categories: social and professional.
Answer: FALSE
Bloom’s: Remember
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LO: Recall that acting in everyday life takes two forms.
38) One of the significant differences between acting for the stage and “acting” in real life is that dramatic characters are not real people.
Answer: TRUE
Bloom’s: Remember
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LO: Compare acting on stage versus acting in life
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