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

Multiple Choice Questions

1. Which country produced a television version of Ubu Roi which captivated the audience with its surrealism?
(a) France.
(b) Czechoslavakia.
(c) Britain.
(d) Israel.

2. Who allegedly saw a play for the first time in their lives and were confronted with Waiting for Godot with no problem at all in following what, to regular theatre-goers, was incomprehensible?
(a) San Quentin prisoners.
(b) School children.
(c) A circus troupe.
(d) The Chinese army.

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

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

5. Who once did a production of Love's Labour's Lost where the character called Constable Dull was dressed as a Victorian policeman because his name at once conjured up the typical figure of the London bobby?
(a) Peter Sellers.
(b) Samuel Beckett.
(c) Antoine Artaud.
(d) Peter Brook.

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

7. Of whom does the author write, "never just made a slice of life--he was a doctor who with infinite gentleness and care took thousands and thousands of fine layers off life."
(a) Beckett.
(b) Shakespeare.
(c) Chekhov.
(d) Brecht.

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

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

10. 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 Tempest.
(b) The Representative.
(c) The Investigation.
(d) Who's Afraid of Virginia Woolfe?

11. "In rehearsal, form and _____ have to be examined sometimes together, sometimes separately."
(a) Action.
(b) Justification.
(c) Writing.
(d) Content.

12. "Both [rough and holy] theatres feed on deep and true ______ in their audiences."
(a) Aspirations.
(b) Attention.
(c) Love.
(d) Acceptance.

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

14. From what play does the author quote the line, "It was in the year of 18-- that a young student, Roman Rodianovitchi Raskolnikov..."?
(a) The Brothers Karamazov.
(b) Waiting for Godot.
(c) Crime and Punishment.
(d) Anna Karena.

15. What director/playwright was rooted in the cabaret?
(a) Peter Brook.
(b) Meyerhold.
(c) Bertolt Brecht.
(d) Samuel Beckett.

Short Answer Questions

1. One of the pioneer figures in the movement towards a renewed Shakespeare was whom?

2. Who wrote Ubu Roi?

3. The author contends that ______ "is a model of a theatre that contains Brecht and Beckett, but goes beyond both."

4. What does the author say is "a sign and is an illustration--so it is a fragment of language"?

5. Of whom does the author say, "can write the most eloquent language, but the amazing impressions in his plays are very often brought about by the visual inventions with which he juxtaposes serious, beautiful, grotesque and ridiculous elements"?

(see the answer keys)

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