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This test consists of 15 multiple choice questions and 5 short answer questions.

Multiple Choice Questions

1. According to the author, with most experimental products, "______ is their complaint and their excuse."
(a) Love.
(b) Religion.
(c) Desperation.
(d) Poverty.

2. What does the "inner man" express only in his words?
(a) Anarchy and poetry.
(b) Love and hatred.
(c) Fear and desire.
(d) Lust and rage.

3. A word is an end product which begins with what?
(a) A thought.
(b) An idea.
(c) An impulse.
(d) A motion.

4. Of whom does the author say, "His aim continually is holy, metaphysical, yet he never makes the mistake of staying too long on the highest plane"?
(a) Beckett.
(b) Artaud.
(c) Pinter.
(d) Shakespeare.

5. What British playwright does the author laud, who also works as a director and performer?
(a) Williams.
(b) Shepard.
(c) Pinter.
(d) Sletteland.

6. What play does the author use as an example of the actor's inability to play "adjectives"?
(a) Romeo and Juliet.
(b) A Midsummer Night's Dream.
(c) Hamlet.
(d) King Lear.

7. The author points out that the best dramatists explain themselves how (regarding stage direction)?
(a) The least.
(b) Intricately.
(c) Creatively.
(d) The most.

8. The author claims that a "true symbol" is what?
(a) Nonexistent.
(b) Specific.
(c) Deadly.
(d) Silent.

9. Who does the author say is the most influential of modern writers?
(a) Tennessee Williams.
(b) Clifford Odets.
(c) Merce Cunningham.
(d) Bertolt Brecht.

10. Of what does the author write, "three needs become one: it exists for the sake of performing, it earns its living through performing and its performances contain the most intense and intimate moments of its collective life"?
(a) The Laboratory.
(b) The Motion Picture Industry.
(c) The Theatre of Cruelty.
(d) The Living Theatre.

11. "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."
(a) Incomprehensible.
(b) Super-human.
(c) Tangible.
(d) Easy.

12. What does the author refer to as "The Theatre of the Invisible-Made-Visible"?
(a) The Holy Theatre.
(b) The Dead Theatre.
(c) The Living Theatre.
(d) The Immediate Theatre.

13. What "can be anywhere, any time, of any duration: nothing is required, nothing is taboo"?
(a) An ordeal.
(b) An emotional moment.
(c) A Happening.
(d) A violent outbreak.

14. The author opines that "today the theatre of doubting, of unease, of trouble, of alarm, seems truer than the theatre" with what?
(a) A happy ending.
(b) A generous spirit.
(c) A sad ending.
(d) A noble aim.

15. What are audiences doing in "elevating something bad into a success"?
(a) Being idiots.
(b) Cheating themselves.
(c) Lying to the authors.
(d) Cheating the critics.

Short Answer Questions

1. The author writes that, "All through the world theatre audiences are ______".

2. What is fast disappearing from modern-day life?

3. "By using language illogically, by introducing the ridiculous in speech and the fantastic in behaviour, an author of the __________ opens up for himself another vocabulary."

4. What group is led by Julian Beck and Judith Malina?

5. According to Brook, "We can try to capture the invisible but we must not lose touch" with what?

(see the answer keys)

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