Brecht on Theatre: The Development of an Aesthetic Test | Final Test - Medium

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This test consists of 5 multiple choice questions, 5 short answer questions, and 10 short essay questions.

Multiple Choice Questions

1. In Piscator's Threepenny Opera, the _____elements were built in.
(a) Conjugative.
(b) Tonal.
(c) Educative.
(d) Coercive.

2. The attitude of chasing away a fly is _____.
(a) No social gest.
(b) Social gest.
(c) Barbaric.
(d) Futile.

3. God had a bet with the devil for _____.
(a) A penny.
(b) A pot of gold.
(c) The rights to heaven.
(d) Dr. Faustus's soul.

4. Where did the first production of Galileo take place?
(a) Los Angeles.
(b) New Orleans.
(c) Paris.
(d) Frankfurt.

5. Aiming to avoid artificial heat in the production of Katzgraben, Brecht felt the company fell short on _____.
(a) Cunning.
(b) Natural warmth.
(c) Soft solitude.
(d) Wit.

Short Answer Questions

1. Subordinating one's own _____to what one imagines those intentions to be is one of Brechts 'common tendencies for actors to guard against'.

2. The poet's words in epic theatre are only sacred so far as they are _____.

3. Brecht thought that the bourgeois theatre's performances always aimed to create _____.

4. _____ with a character should be treated as just another method of observation in rehearsals.

5. Life of Galileo has the main character giving a boy a lesson on _____.

Short Essay Questions

1. What are the conventions of traditional verse and how does Brecht's poetry defy these conventions?

2. How was performance kept subordinate to the story in Antigone?

3. Compare the modern playwright's relationship with his audience with the tradesman's relationship with his customers.

4. Why does Brecht say that mere catastrophe is a bad teacher?

5. What does Brecht see as a good way of judging gestic music with a piece of text?

6. With whom did Brecht and Laughton fill the cast of Galileo and what did they have trouble with?

7. What is Brecht's description of how academic critics treat folk plays and why does he think this?

8. In what works did Brecht give up iambics and why?

9. What is the role of the story in theatre?

10. What is Brecht's view on previews?

(see the answer keys)

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