Brecht on Theatre: The Development of an Aesthetic Test | Final Test - Medium

This set of Lesson Plans consists of approximately 99 pages of tests, essay questions, lessons, and other teaching materials.

Brecht on Theatre: The Development of an Aesthetic Test | Final Test - Medium

This set of Lesson Plans consists of approximately 99 pages of tests, essay questions, lessons, and other teaching materials.
Buy the Brecht on Theatre: The Development of an Aesthetic Lesson Plans
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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. After the moral and material collapse of Germany, the country had a vague appetite for _____.
(a) Novelty.
(b) Drama.
(c) Aleatoric elements.
(d) Classicism.

2. Epic theatre strives to achieve a character rather than a _____.
(a) Corporal.
(b) Caricature.
(c) Dilettant.
(d) Singer.

3. Where in Laughton's house did he and Brecht work in the morning?
(a) The dining room.
(b) The library.
(c) The kitchen.
(d) The living room.

4. The expressionism of the postwar period showed the World as Will and Idea and led to a special kind of _____.
(a) Monopolism.
(b) Regression.
(c) Solopsism.
(d) Caricature.

5. Why was Antigone picked up for production?
(a) Its timely subject matter.
(b) Its sets.
(c) Its sense of drama.
(d) Its characterization.

Short Answer Questions

1. What were the colors used to develop the color scheme for morning in Galileo?

2. What is Brecht's chosen opposite of the queen in his analogy about nobility of characters?

3. Brecht's first book of poems contained songs and _____.

4. God had a bet with the devil for _____.

5. What needs to be alienated in epic theatre depends on the _____ demanded by the entire episode.

Short Essay Questions

1. Compare the modern playwright's relationship with his audience with the tradesman's relationship with his customers.

2. With whom did Brecht and Laughton fill the cast of Galileo and what did they have trouble with?

3. In what works did Brecht give up iambics and why?

4. What is Brecht's view on casting?

5. How does Brueghel deal in contradictions?

6. How was performance kept subordinate to the story in Antigone?

7. Why does Brecht say that mere catastrophe is a bad teacher?

8. What is Brecht's view on previews?

9. What does Brecht see as a good way of judging gestic music with a piece of text?

10. What is Brecht's view on setting?

(see the answer keys)

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