The Theater and Its Double Test | Final Test - Easy

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

Multiple Choice Questions

1. Artaud claims that the lighting equipment now in use would no longer be what for the Theater of Cruelty?
(a) Realistic.
(b) Abstract.
(c) Adequate.
(d) Inspired.

2. To whom is Artaud's first letter in "Letters on Language"?
(a) M. R. de R.
(b) J.P.
(c) M.B.C.
(d) Aguste Francois.

3. Artaud claims that the psychological theater descended from whom?
(a) Racine.
(b) Shakespeare.
(c) Jarry.
(d) Zola.

4. What is the name of the third act of Artaud's proposed production?
(a) "Convulsions."
(b) "Confession."
(c) "Redemption."
(d) "War Cry."

5. In his second note of "Two Notes," the author writes "When an atmosphere is so transformed that a hostile audience is suddenly and blindly immersed and invincibly disarmed, it must be hailed as _____."
(a) An event.
(b) A transformation.
(c) A success.
(d) A truth.

6. Who, in addition to Shakespeare and Aeschylus does Artaud refer to as a great classicist in his "Letters on Language"?
(a) Euripides.
(b) Sophocles.
(c) Moliere.
(d) Racine.

7. What is the "distinct poetic state of mind" which Artaud terms for the film he discusses in "Two Notes"?
(a) Realism.
(b) Absurdism.
(c) Comedy.
(d) Surrealism.

8. Upon what was the performance based which Artaud discusses in his second note of "Two Notes"?
(a) "The Last Tango."
(b) "As I Lay Dying."
(c) "The Sun Also Rises."
(d) "The Great Gatsby."

9. Artaud intends his theater to to seek in the what of tremendous masses?
(a) Terror.
(b) Sensation.
(c) Clamoring.
(d) Agitation.

10. How does Artaud claim musical instruments will be treated in the Theater of Cruelty?
(a) As invisible.
(b) As external objects.
(c) As objects and part of the set.
(d) As characters.

11. In his second letter of "Letters on Cruelty," Artaud refers to what as being in a sense of constant creation?
(a) Music.
(b) Theater.
(c) Film.
(d) Art.

12. In his last letter from "Letters on Language," Artaud says that in fact, the theater he is defining has to assume another _____ in order to function.
(a) Meaning.
(b) Civilization.
(c) Theme.
(d) Definition.

13. According to the author, "Our long habit of seeking _____ has made us forget the idea of a serious theater."
(a) Realism.
(b) Joy.
(c) Diversion.
(d) Ignorance.

14. In his second letter from "Letters on Language," Artaud underlines the fact that _____ precede language.
(a) Truth.
(b) Actions.
(c) Mise en scene.
(d) Spectacle.

15. According to Artaud, what the athlete depends upon in ______ is what the actor depends upon in shouting a passionate curse.
(a) Throwing.
(b) Catching.
(c) Running.
(d) Fighting.

Short Answer Questions

1. In "An Affective Athleticism," Artaud writes, "One must grant the actor a kind of affective musculature which corresponds to the physical localizations of ______."

2. What does Artaud compare actors of the "current" theater to in "The Theater and Cruelty"?

3. What does Artaud accuse the "current" theater of turning its public into?

4. In his second letter from "Letters on Language," Artaud states, "My plays have nothing to do with ______ improvisations."

5. "When the poetic spirit is exercised, it always leads toward a kind of boiling ______, an essential disintegration of the real by poetry."

(see the answer keys)

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