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Name: _________________________ | Period: ___________________ |
This quiz consists of 5 multiple choice and 5 short answer questions through The Deadly Theatre, part 2 (p. 30-46).
Multiple Choice Questions
1. "There is eventually a need for _______ to reach the ultimate compactness and focus that collective work is almost obliged to miss."
(a) Creativity.
(b) Magnitude.
(c) Authorship.
(d) Actors.
2. What is the theatre district in London called?
(a) Broadway.
(b) East End.
(c) West End.
(d) SoHo.
3. What British playwright does the author laud, who also works as a director and performer?
(a) Shepard.
(b) Pinter.
(c) Williams.
(d) Sletteland.
4. Who, according to the author, "was trained to reject cliché imitations of reality and to search for something more real in himself."
(a) The Meisner Actor.
(b) The Classical Actor.
(c) The Chekhovian Actor.
(d) The Method Actor.
5. Every work and every period has its own what?
(a) Cadence.
(b) Eloquence.
(c) Style.
(d) Mannerism.
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. What play does the author use as an example of the actor's inability to play "adjectives"?
3. What does "Deadly Theatre" mean?
4. Within a constrained time allotted for rehearsal, what cannot occur, according to the author?
5. What is the name of Peter Weiss' play about Auschwitz, which the author uses in example?
This section contains 225 words (approx. 1 page at 300 words per page) |
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