1. The author writes that New York has potentially the best audience in the world, but they don't go to the theatre. Why?
(a) The creative impulse doesn't exist.
(b) The lack of culture.
(c) The price is too high.
(d) The work is too shabby.

2. The author says of Deadly Theatre, that "just the right degree of _______ is a reassuring guarantee of a worthwhile event."
(a) Celebration.
(b) Intellectualism.
(c) Boringness.
(d) Spectacle.

3. Within a constrained time allotted for rehearsal, what cannot occur, according to the author?
(a) Artistic risks.
(b) Creative explosion.
(c) Finding truth.
(d) True impulse.

4. Where did the author, in 1946, encounter children piling into a space to watch two clowns?
(a) The Royal Shakespeare Company.
(b) The Hamburg Opera.
(c) The Louvre.
(d) The London Globe.

5. The author contends that the whole of pop music is a series of what on a level to which we have access?
(a) Discoveries.
(b) Rituals.
(c) Superficiality.
(d) Journeys.

Short Answer Questions

1. "The job of shifting oneself totally from one character to another--a principle on which all of Shakespeare and all of Chekhov is built--is a _______ task at any time."

2. With whom did the author institute a group with the Royal Shakespeare Theatre called the Theatre of Cruelty?

3. Who theorized the "Theatre of Cruelty"?

4. What used to be the great symbol of a whole school of theatre?

5. The author refers to Broadway not as a jungle, but a what?

(see the answer key)

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