2. In one of Brecht's examples of how projections were used, projections of warships being launched were running while two characters were fighting over _____.
(a) A penny.
(b) A woman.
(c) A Rhineland winery.
(d) An Albanian oil field.

3. Which aspect of epic theatre enlightened the spectator about facts unknown to him?
(a) Programs.
(b) Choruses.
(c) Pre-show talks.
(d) The narrator.

4. Where was Die Asthetschen Anschauungen Berthold Brechts published?
(a) Munich.
(b) Frankfurt.
(c) Copenhagen.
(d) Moscow.

5. Who was Brecht's longtime secretary and collaborator?
(a) Alban Berg.
(b) Helge Hultberg.
(c) Martin Esslin.
(d) Elisabeth Hauptmann.

6. What does Brecht praise Georg Kaiser for?
(a) Intellectualism.
(b) Emotionalism.
(c) Socialism.
(d) Marxism.

7. What is the main task of epic theatre?
(a) To mask.
(b) To exaggerate.
(c) To emote.
(d) To report.

8. What does Brecht call the new style of acting that happened as a result of the Threepenny Opera?
(a) Neo-Shakespearean.
(b) Emotive.
(c) The epic style.
(d) Baconian.

9. Who starred in City Lights?
(a) Errol Flynn.
(b) John Huston.
(c) Peter Lorre.
(d) Charlie Chaplin.

10. Who was the interviewer in "Conversations with Bert Brecht"?
(a) Helen Weigel.
(b) Rheinhold Grimm.
(c) Samuel Bernadin.
(d) Bernard Guillemin.

11. With whom did Brecht collaborate on the Berlin production of his first play, Baal?
(a) Shaw.
(b) Homolka.
(c) Piscator.
(d) Wedekind.

12. Film projections became an integral part of the _____ in epic theatre.
(a) Plot.
(b) Coercion.
(c) Propaganda.
(d) Setting.

13. What example does Brecht use to explain his concept of art following reality in "On Form and Subject Matter"?
(a) French perfume.
(b) Sausage.
(c) Petroleum spirits.
(d) Pine tree sap.

14. In reference to film, Brecht felt that the mechanization of literary production cannot be _____.
(a) Thrown into reverse.
(b) Thrown off a cliff.
(c) Anticipated.
(d) Detached.

15. Lehrstucke are Brecht's _____ works.
(a) Historical.
(b) Didactic.
(c) Holistic.
(d) Culinary.