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This test consists of 15 multiple choice questions and 5 short answer questions.

Multiple Choice Questions

1. Of whom does the author write, "never just made a slice of life--he was a doctor who with infinite gentleness and care took thousands and thousands of fine layers off life."
(a) Beckett.
(b) Chekhov.
(c) Shakespeare.
(d) Brecht.

2. In which Shakespearean play does the Holy/Rough theatre show in Falstaff; the prose realism of the inn scenes on the one hand and the poetic levels of so much else--both elements contained within one complex whole?
(a) Hamlet.
(b) Henry IV.
(c) Henry VI.
(d) King Lear.

3. "In work with a designer, a sympathy of _____ is what matters most."
(a) Means.
(b) Expertise.
(c) Tempo.
(d) Money.

4. In which Shakespearean play is a main character named Cornelia?
(a) Romeo and Juliet.
(b) Faust.
(c) Hamlet.
(d) King Lear.

5. In performance, what is the relationship the author establishes?
(a) Audience/director/actor.
(b) Actor/subject/audience.
(c) Actor/director/audience.
(d) Director/actor/audience.

6. In the third section of the book the author claims, "It is always the ______ theatre that saves the day."
(a) Popular.
(b) Proud.
(c) Honest.
(d) Deadly.

7. The author writes of the architecture of theatres in saying, "as for theatres, the problem of design cannot start" how?
(a) Logically.
(b) Viscerally.
(c) Illogically.
(d) Demandingly.

8. What "is above all an appeal to the spectator to work for himself, so to become more and more responsible for accepting what he sees only if it is convincing to him in an adult way"?
(a) Absurdism.
(b) Alienation.
(c) Romance.
(d) Realism.

9. What is the only "interesting difference" between the theatre and the cinema?
(a) There is no immediacy in the theatre.
(b) The cinema shows big stars.
(c) The cinema flashes images from the past.
(d) There is no violence in theatre.

10. The author claims that the price of being a great tragedian or musical conductor is that "the material you use to create these imaginary people who you can pick up and discard like a glove" is what?
(a) A shadow.
(b) Gone.
(c) Your own flesh and blood.
(d) A ghost in the darkness.

11. "Whenever one has a real critical flop, for the remainder of the run there is always a small audience of..." what?
(a) Cautious ticketpayers.
(b) Grand critics.
(c) Great enthusiasm.
(d) Haters.

12. "Figaro or Falstaff or Tartuffe lampoon and debunk through laughter, and the author's purpose is to bring about a _______."
(a) Tear to the eye.
(b) Radical anarchy.
(c) Social change.
(d) Vision of truth.

13. Who "influenced Europe for half a century through a couple of performances given in Hampstead in a church hall"?
(a) Antoine Artaud.
(b) Gordon Craig.
(c) Martha Graham.
(d) Samuel Beckett.

14. Who allegedly saw a play for the first time in their lives and were confronted with Waiting for Godot with no problem at all in following what, to regular theatre-goers, was incomprehensible?
(a) San Quentin prisoners.
(b) A circus troupe.
(c) The Chinese army.
(d) School children.

15. What French surrealist of the theatre does the author mention in "Rough Theatre"?
(a) Robeieux.
(b) Cocteaux.
(c) Jarry.
(d) Zouicher.

Short Answer Questions

1. The author believes that an architect of the theatre is better off if he works like a what?

2. Who "is the key figure of our time, and all theatre work today at some point starts or returns to his statements and achievement," according to Brook?

3. The closer the actor approaches what, the more requirements he is asked to separate, understand and fulfill simultaneously?

4. "Both [rough and holy] theatres feed on deep and true ______ in their audiences."

5. Who does the author describe as perhaps the most idiosyncratic of all theatre artists?

(see the answer keys)

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