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What is the third element for creating and defining theatre, according to the author, described as the life that an audience brings into the theatre every time a play is performed? (from The Immediate Theatre, part 2 (p 134 to 157))

Representation.

Assistance.

Repetition.

Truth.

What "can be anywhere, any time, of any duration: nothing is required, nothing is taboo"? (from The Holy Theatre, part 2 (p 61-72))

A Happening.

An ordeal.

A violent outbreak.

An emotional moment.

The author writes that "the theatre of the Absurd did not seek the ____ for its own sake." (from The Holy Theatre, part 1 (p 47 to 61))

Truth.

Realism.

Glory.

Unreal.

What artist does the author refer to as a visionary who leads a theatre company in Poland? (from The Holy Theatre, part 2 (p 61-72))

Andreas Bryg.

Travis Kendowski.

Jerzy Grotowski.

Chaim Potok.

The author writes of the architecture of theatres in saying, "as for theatres, the problem of design cannot start" how? (from The Rough Theatre, part 1 (p. 73 to 92))

Illogically.

Logically.

Demandingly.

Viscerally.

In the author's "formula" for creating and defining theatre, the first element is what? (from The Immediate Theatre, part 2 (p 134 to 157))

Representation.

Truth.

Assistance.

Repetition.

The author states, "When Brecht was alive, it was the ______ of West Berlin who flocked to his theatre in the East." (from The Immediate Theatre, part 2 (p 134 to 157))

Nobles.

Czars.

Intellectuals.

Anarchists.

"In the theatre, the tendency for centuries has been to put the actor" where? (from The Holy Theatre, part 2 (p 61-72))

On a screen.

Close to us.

In the air.

At a remote distance.

10)

The theory of what is: "a spectator can be jolted eventually into new sight, so that he wakes to the life around him"? (from The Holy Theatre, part 2 (p 61-72))

Absurdism.

Surrealism.

Happenings.

Cruelty.

11)

For which Shakespearean play is it true that "as long as scholars could not decide whether this play was a comedy or not, it never got played"? (from The Rough Theatre, part 2 (p. 93 to 109))

King Lear.

Henry VIII.

The Tempest.

Measure for Measure.

12)

Who once did a production of Love's Labour's Lost where the character called Constable Dull was dressed as a Victorian policeman because his name at once conjured up the typical figure of the London bobby? (from The Rough Theatre, part 1 (p. 73 to 92))

Peter Brook.

Antoine Artaud.

Samuel Beckett.

Peter Sellers.

13)

Of what play does the author write, "The optimism of the lady buried in the ground is not a virtue, it is the element that blinds her to the truth of her situation"? (from The Holy Theatre, part 2 (p 61-72))

Waiting for Godot.

Happy Days.

Endgame.

Krapp's Last Tape.

14)

"If rehearsals are short, ______ is inevitable--but everyone deplores it, naturally," according to the author. (from The Immediate Theatre, part 1 (p 110 to 134))

Type-casting.

No direction.

Foregoing truth.

Casting.

15)

Who "wanted the theatre to contain all that normally is reserved for crime and war"? (from The Holy Theatre, part 1 (p 47 to 61))

Grotowski.

Beckett.

Jenet.

Artaud.

16)

In the cinema, who, according to the author, has single-handedly brought about a revolution by showing how relative the reality of a photographed scene can be? (from The Rough Theatre, part 2 (p. 93 to 109))

Godard.

Lynch.

Fellini.

Beckett.

17)

Who does the author describe as perhaps the most idiosyncratic of all theatre artists? (from The Immediate Theatre, part 1 (p 110 to 134))

Actors.

Critics.

Designers.

Directors.

19)

From which of Shakespeare's plays is the line, "Wilt thou be gone? It is not yet near day", which the author uses as an example in "The Immediate Theatre"? (from The Immediate Theatre, part 2 (p 134 to 157))

King Lear.

Romeo and Juliet.

Hamlet.

A Winter's Tale.

20)

"Whenever one has a real critical flop, for the remainder of the run there is always a small audience of..." what? (from The Immediate Theatre, part 2 (p 134 to 157))

Cautious ticketpayers.

Great enthusiasm.

Grand critics.

Haters.

22)

What play was conceived by Peter Weiss, and based on many ideals of Brecht? (from The Rough Theatre, part 2 (p. 93 to 109))

Marat/Sade.

Ubu Roi.

The Screens.

The Investigation.

23)

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? (from The Rough Theatre, part 1 (p. 73 to 92))

The Chinese army.

A circus troupe.

San Quentin prisoners.

School children.

24)

Whose recent production of Coriolanus underlines the whole question of where illusion begins and ends, according to the author (and the time the book was written)? (from The Rough Theatre, part 2 (p. 93 to 109))

The Swan Theatre.

The Royal Shakespeare Company.

The Berliner Ensemble's.

Old Vic.

25)

What does the "inner man" express only in his words? (from The Holy Theatre, part 1 (p 47 to 61))

Anarchy and poetry.

Fear and desire.

Love and hatred.

Lust and rage.

The Empty Space | Quiz

The Empty Space | Quiz

Who theorized the "Theatre of Cruelty"? (from The Holy Theatre, part 1 (p 47 to 61))

What is the third element for creating and defining theatre, according to the author, described as the life that an audience brings into the theatre every time a play is performed? (from The Immediate Theatre, part 2 (p 134 to 157))

What "can be anywhere, any time, of any duration: nothing is required, nothing is taboo"? (from The Holy Theatre, part 2 (p 61-72))

The author writes that "the theatre of the Absurd did not seek the ____ for its own sake." (from The Holy Theatre, part 1 (p 47 to 61))

What artist does the author refer to as a visionary who leads a theatre company in Poland? (from The Holy Theatre, part 2 (p 61-72))

The author writes of the architecture of theatres in saying, "as for theatres, the problem of design cannot start" how? (from The Rough Theatre, part 1 (p. 73 to 92))

In the author's "formula" for creating and defining theatre, the first element is what? (from The Immediate Theatre, part 2 (p 134 to 157))

The author states, "When Brecht was alive, it was the ______ of West Berlin who flocked to his theatre in the East." (from The Immediate Theatre, part 2 (p 134 to 157))

"In the theatre, the tendency for centuries has been to put the actor" where? (from The Holy Theatre, part 2 (p 61-72))

The theory of what is: "a spectator can be jolted eventually into new sight, so that he wakes to the life around him"? (from The Holy Theatre, part 2 (p 61-72))

For which Shakespearean play is it true that "as long as scholars could not decide whether this play was a comedy or not, it never got played"? (from The Rough Theatre, part 2 (p. 93 to 109))

Who once did a production of Love's Labour's Lost where the character called Constable Dull was dressed as a Victorian policeman because his name at once conjured up the typical figure of the London bobby? (from The Rough Theatre, part 1 (p. 73 to 92))

Of what play does the author write, "The optimism of the lady buried in the ground is not a virtue, it is the element that blinds her to the truth of her situation"? (from The Holy Theatre, part 2 (p 61-72))

"If rehearsals are short, ______ is inevitable--but everyone deplores it, naturally," according to the author. (from The Immediate Theatre, part 1 (p 110 to 134))

Who "wanted the theatre to contain all that normally is reserved for crime and war"? (from The Holy Theatre, part 1 (p 47 to 61))

In the cinema, who, according to the author, has single-handedly brought about a revolution by showing how relative the reality of a photographed scene can be? (from The Rough Theatre, part 2 (p. 93 to 109))

Who does the author describe as perhaps the most idiosyncratic of all theatre artists? (from The Immediate Theatre, part 1 (p 110 to 134))

Who created the method termed "alienation" in the theatre? (from The Rough Theatre, part 1 (p. 73 to 92))

From which of Shakespeare's plays is the line, "Wilt thou be gone? It is not yet near day", which the author uses as an example in "The Immediate Theatre"? (from The Immediate Theatre, part 2 (p 134 to 157))

"Whenever one has a real critical flop, for the remainder of the run there is always a small audience of..." what? (from The Immediate Theatre, part 2 (p 134 to 157))

What is the Haitian voodoo priest called? (from The Holy Theatre, part 2 (p 61-72))

What play was conceived by Peter Weiss, and based on many ideals of Brecht? (from The Rough Theatre, part 2 (p. 93 to 109))

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? (from The Rough Theatre, part 1 (p. 73 to 92))

Whose recent production of Coriolanus underlines the whole question of where illusion begins and ends, according to the author (and the time the book was written)? (from The Rough Theatre, part 2 (p. 93 to 109))

What does the "inner man" express only in his words? (from The Holy Theatre, part 1 (p 47 to 61))