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

Multiple Choice Questions

1. After a production of Love Labour's Lost, what did the author throw out and never work with again?
(a) Written plans.
(b) Set designers.
(c) Lighting designers.
(d) Ham actors.

2. "Anyone interested in processes in the natural world would be very rewarded by a study of" what?
(a) Acting.
(b) Playwriting.
(c) Architecture.
(d) Theatre conditions.

3. What are some of the physical aspects of the alienation effect?
(a) Sun lighting.
(b) Realistic furniture.
(c) All of the above.
(d) Placards and visible spotlights.

4. The author writes, "What has not been appreciated sufficiently is that the freedom of movement of the ____ theatre was not only a matter of scenery."
(a) Brechtian.
(b) Pagan.
(c) French.
(d) Elizabethan.

5. Joan Littlewood dressed her soldiers as what to create an alienation effect?
(a) Monkeys.
(b) Monsters.
(c) Parrots.
(d) Pierrots.

6. Of the two British actors the author compares in "The Immediate Theatre," which is intuition-based?
(a) Paul Scofield.
(b) John Gielgud.
(c) Daniel Day-Lewis.
(d) Peter O'Toole.

7. "Just as in life the wearing of old clothes can start as defiance and turn into a posture, so ______ can become an end in itself."
(a) Beauty.
(b) Roughness.
(c) Style.
(d) Holiness.

8. The author contends that ______ "is a model of a theatre that contains Brecht and Beckett, but goes beyond both."
(a) Marlowe.
(b) Williams.
(c) Albee.
(d) Shakespeare.

9. What is the earliest relationship during the performance/rehearsal process?
(a) Director/actor/audience.
(b) Director/subject/designer.
(c) Director/designer/actor.
(d) Director/designer/audience.

10. "In work with a designer, a sympathy of _____ is what matters most."
(a) Expertise.
(b) Tempo.
(c) Money.
(d) Means.

11. 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 Method Actor.
(b) The Classical Actor.
(c) The Grotowski Actor.
(d) The Immediate Actor.

12. In which Shakespearean play does the Holy/Rough theatre show in Falstaff; the prose realism of the inn scenes on the one hand and the poetic levels of so much else--both elements contained within one complex whole?
(a) Hamlet.
(b) Henry IV.
(c) King Lear.
(d) Henry VI.

13. Which production of Genet's did the author direct in Paris where it was necessary to mix actors of very different backgrounds?
(a) The Balcony.
(b) Ubu Roi.
(c) The Emperor's Theme.
(d) Waiting for Godot.

14. "The moment of performance, when it comes, is reached through two passageways--the foyer and the..." what?
(a) Balcony.
(b) Stage door.
(c) Exit.
(d) Orchestra pit.

15. The author states, "When Brecht was alive, it was the ______ of West Berlin who flocked to his theatre in the East."
(a) Anarchists.
(b) Nobles.
(c) Intellectuals.
(d) Czars.

Short Answer Questions

1. What is the "lie" that the secret patronage of going to the theatre is?

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

3. In rehearsals, what is the relationship the author establishes?

4. What equation does the author give for the formula we are about to be upon?

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

(see the answer keys)

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