The Empty Space Test | Mid-Book 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. "The job of shifting oneself totally from one character to another--a principle on which all of Shakespeare and all of Chekhov is built--is a _______ task at any time."
(a) Incomprehensible.
(b) Easy.
(c) Tangible.
(d) Super-human.

2. What are audiences doing in "elevating something bad into a success"?
(a) Being idiots.
(b) Lying to the authors.
(c) Cheating themselves.
(d) Cheating the critics.

3. "A man walks across this empty space whilst someone else is watching him, and this is all that is needed for an act of ______ to be engaged."
(a) Magnitude.
(b) Art.
(c) Theatre.
(d) Drama.

4. The author writes of productions in Russia of classical Shakespearean works which rehearsed for how long, yet were unable to perform as well as a hack company?
(a) Two years.
(b) Five months.
(c) One year.
(d) Six years.

5. With whom did the author institute a group with the Royal Shakespeare Theatre called the Theatre of Cruelty?
(a) Harold Pinter.
(b) Celice Dayton.
(c) Charles Marowitz.
(d) Arthur Miller.

Short Answer Questions

1. According to the author, "to imitate the externals of acting only perpetuates" what?

2. According to Brook, "We can try to capture the invisible but we must not lose touch" with what?

3. What "can be anywhere, any time, of any duration: nothing is required, nothing is taboo"?

4. Of what does the author write, "three needs become one: it exists for the sake of performing, it earns its living through performing and its performances contain the most intense and intimate moments of its collective life"?

5. Brook claims there are two ways of "speaking about the human condition: there is the process of inspiration" and the process of what?

Short Essay Questions

1. Discuss the playwright's role, as established by the author.

2. What does the author say in regard to replication and manner in the Deadly Theatre?

3. What does the author say about New York theatre and its economic focus?

4. How does boringness contribute to people attending Deadly Theatre?

5. What is "The Happening," and what difficulty does it pose?

6. What American dancer does the author discuss, and what does his work entail?

7. How is "The Happening" similar to the Haitian voodoo ritual?

8. Does "Holy Theatre" mean serious theatre? Why or why not?

9. How does the author describe the Hamburg Opera and the audience who attended it?

10. What metaphor does the author use for the theatre in the first section of the book, and what is his meaning?

(see the answer keys)

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