Name: _________________________ | Period: ___________________ |
This test consists of 15 multiple choice questions and 5 short answer questions.
Multiple Choice Questions
1. 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 truth.
(c) A transformation.
(d) A success.
2. The author claims that actors in France no longer "know how to do anything but" what?
(a) Stand.
(b) Bore.
(c) Talk.
(d) Sing.
3. What will be avoided in terms of costuming in the Theater of Cruelty?
(a) Masks.
(b) Renaissance apparel.
(c) Asian-inspired costumes.
(d) Modern dress.
4. In his second letter from "Letters on Language," Artaud states, "My plays have nothing to do with ______ improvisations."
(a) Racine's.
(b) Jarry's.
(c) Nietzsche's.
(d) Copeau's.
5. To whom does Artaud write his second letter of "Letters on Language"?
(a) Auguste Francois.
(b) J.P.
(c) M. R. de R.
(d) M.B.C.
6. In his second letter from "Letters on Language," Artaud underlines the fact that _____ precede language.
(a) Truth.
(b) Spectacle.
(c) Mise en scene.
(d) Actions.
7. In his Second Manifesto, Artaud describes the themes for the Theater of Cruelty as based on the ________ of ancient civilizations from all over the world.
(a) Religions.
(b) Sacred texts.
(c) Poetry.
(d) Theater.
8. The first line of Artaud's Second Manifesto, states, "Admittedly or not, conscious or unconscious, _________, a transcendent experience of life, is what the public is fundamentally seeking through love, crime, drugs, war, or insurrection."
(a) The poetic state.
(b) A religious experience.
(c) Freedom.
(d) Cruelty.
9. "What voluntary breathing provokes is a spontaneous reappearance" of what?
(a) Emotion.
(b) Life.
(c) Death.
(d) Fear.
10. In "An Affective Athleticism," Artaud writes, "One must grant the actor a kind of affective musculature which corresponds to the physical localizations of ______."
(a) Sanity.
(b) Thought.
(c) Breath.
(d) Feelings.
11. In "An Affective Athleticism," the author writes, "The actor is an athlete of the ____."
(a) Heart.
(b) Soul.
(c) Body.
(d) Mind.
12. Artaud claims that if the theater fails to successfully reproduce the works of the great classics, it is because we have lost the sense of their theater's what?
(a) Importance.
(b) Language.
(c) Dynamic.
(d) Physics.
13. In order to reinvent and modernize theater, it is necessary to get rid of what?
(a) Sacred texts.
(b) Actors.
(c) Proscenium staging.
(d) Directors.
14. In his first manifesto, Artaud claims that the first thing to notice about theater is that it only expresses itself in ______.
(a) Life.
(b) Space.
(c) Time.
(d) Love.
15. Artaud claims that it is certainly with his ____ that the actor thinks.
(a) Heart.
(b) Breath.
(c) Mind.
(d) Body.
Short Answer Questions
1. "The soul can be physiologically reduced to a skein of" what, according to the author?
2. What second film does Artaud mention in his first note of "Two Notes"?
3. Every breath has how many kinds of time?
4. What does Artaud say has "maintained us for ten years in an ineffectual torpor"?
5. In his second letter of "Letters on Language," Artaud states that he finds the duality between author and _____ in the context of theater totally absurd, since there should be no difference between them."
This section contains 481 words (approx. 2 pages at 300 words per page) |