1. What French surrealist of the theatre does the author mention in "Rough Theatre"?
(a) Jarry.
(b) Cocteaux.
(c) Robeieux.
(d) Zouicher.

2. Who created the method termed "alienation" in the theatre?
(a) Brecht.
(b) Beckett.
(c) Brook.
(d) Cunningham.

3. In rehearsals, what is the relationship the author establishes?
(a) Actor/subject/director.
(b) Actor/designer/director.
(c) Actor/audience/director.
(d) Director/audience/actor.

4. According to Brook, "We can try to capture the invisible but we must not lose touch" with what?
(a) Money.
(b) Common sense.
(c) The audience.
(d) Reality.

5. No tribute to the latent power of the theatre is as telling as that paid to it by what?
(a) Censorship.
(b) Respect.
(c) Bigotry.
(d) Violence.

Short Answer Questions

1. In what show is the climax of the first part one in which the stage action is a scribbling graffiti of war on to vast white surfaces, while a monument is formed to colonialism and revolution?

2. What is the earliest relationship during the performance/rehearsal process?

3. The author writes that "a most powerful explanation of the various arts is that they talk of..." what?

4. Meaning and reaction can only be discerned when an audience allows for a moment of transition from the world of the play into what?

5. The author believes that an architect of the theatre is better off if he works like a what?

(see the answer key)

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