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

Multiple Choice Questions

1. In Paris, Brook directed what show in which he did all in his power to inhibit applause, because appreciation of the actor's talents seemed irrelevant in a Concentration Camp document?
(a) The Investigation.
(b) The Tempest.
(c) The Representative.
(d) Who's Afraid of Virginia Woolfe?

2. "Figaro or Falstaff or Tartuffe lampoon and debunk through laughter, and the author's purpose is to bring about a _______."
(a) Vision of truth.
(b) Radical anarchy.
(c) Social change.
(d) Tear to the eye.

3. What is the term which embodies the emotional and spiritual experience that occurs in great tragedies?
(a) Relief.
(b) Catharsis.
(c) Tears.
(d) Exhaustion.

4. The author says in "The Immediate Theatre", "At least one can see that everything is a _______ for something and nothing is a _______ for everything."
(a) Banality.
(b) Theatre.
(c) Language.
(d) Truth.

5. The true meaning of a theatre piece only becomes apparent when an audience is what?
(a) Alive.
(b) Rapt.
(c) Listening.
(d) Present and reacting.

6. In the author's "formula" for creating and defining theatre, the first element is what?
(a) Representation.
(b) Truth.
(c) Repetition.
(d) Assistance.

7. For which Shakespearean play is it true that "as long as scholars could not decide whether this play was a comedy or not, it never got played"?
(a) King Lear.
(b) Measure for Measure.
(c) Henry VIII.
(d) The Tempest.

8. "If rehearsals are short, ______ is inevitable--but everyone deplores it, naturally," according to the author.
(a) Foregoing truth.
(b) Type-casting.
(c) No direction.
(d) Casting.

9. Of which actor does the author say, "His tongue, his vocal chords, his feeling for rhythm compose an instrument that he has consciously developed all through his career in a running analogy with his life"?
(a) Peter O'Toole.
(b) John Gielgud.
(c) Charlie Chaplin.
(d) Paul Scofield.

10. Who "influenced Europe for half a century through a couple of performances given in Hampstead in a church hall"?
(a) Martha Graham.
(b) Antoine Artaud.
(c) Gordon Craig.
(d) Samuel Beckett.

11. The author believes that an architect of the theatre is better off if he works like a what?
(a) Visceral artist.
(b) Community builder.
(c) Costume designer.
(d) Scene designer.

12. Which chapter is the most autobiographical to the author?
(a) "The Deadly Theatre."
(b) "The Instinctive Theatre."
(c) "The Immediate Theatre."
(d) "The Rough Theatre."

13. Which actor "is reaching inside himself for an alphabet that is also fossilized, for the language of signs from life that he knows is the language not of invention but of his conditioning"?
(a) The Grotowski Actor.
(b) The Immediate Actor.
(c) The Method Actor.
(d) The Classical Actor.

14. Whose recent production of Coriolanus underlines the whole question of where illusion begins and ends, according to the author (and the time the book was written)?
(a) The Berliner Ensemble's.
(b) Old Vic.
(c) The Swan Theatre.
(d) The Royal Shakespeare Company.

15. What is the "lie" that the secret patronage of going to the theatre is?
(a) That the honor is privilege.
(b) That the truth is waiting.
(c) That the gift is worth receiving.
(d) That it will be bad.

Short Answer Questions

1. The aim of acting exercises and improvisation in rehearsals is always the same, according to the actor, which is what?

2. What is the third element for creating and defining theatre, according to the author, described as the life that an audience brings into the theatre every time a play is performed?

3. "Both [rough and holy] theatres feed on deep and true ______ in their audiences."

4. In the cinema, who, according to the author, has single-handedly brought about a revolution by showing how relative the reality of a photographed scene can be?

5. From what play does the author quote the line, "It was in the year of 18-- that a young student, Roman Rodianovitchi Raskolnikov..."?

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