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

Multiple Choice Questions

1. 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) Pagan.
(b) French.
(c) Brechtian.
(d) Elizabethan.

2. 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 Swan Theatre.
(b) The Berliner Ensemble's.
(c) The Royal Shakespeare Company.
(d) Old Vic.

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

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

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

6. What is the only "interesting difference" between the theatre and the cinema?
(a) There is no immediacy in the theatre.
(b) The cinema shows big stars.
(c) There is no violence in theatre.
(d) The cinema flashes images from the past.

7. The Rough Theatre deals with men's what?
(a) Souls.
(b) Love.
(c) Laughter.
(d) Actions.

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

9. The sort of play that Shakespeare offers us is never just what?
(a) A series of events.
(b) An enlightened tale.
(c) A Holy play.
(d) A Rough play.

10. Brook claims, "Personally, I find staging _______ can be more thoroughly enjoyable than any other form of theatre."
(a) A musical.
(b) An opera.
(c) A Surrealist production.
(d) A mime show.

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

12. "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) Holiness.
(d) Style.

13. The strongest comedy is rooted in what?
(a) The magical.
(b) The absurd.
(c) Archetypes.
(d) Buffoonery.

14. Whose theatre, "in which the imagination, freed by anarchy, flies like a wild bat in and out of every possible shape and style," has it all?
(a) Antoine Artaud's.
(b) Alfred Jarry's.
(c) Martha Graham's.
(d) Spike Milligan's.

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

Short Answer Questions

1. In performance, what is the relationship the author establishes?

2. 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"?

3. "Brecht recognized this and in his last years he surprised his associates by saying that the theatre must be ____."

4. What words does the author refer to as lines from Madame Butterfly?

5. What "is above all an appeal to the spectator to work for himself, so to become more and more responsible for accepting what he sees only if it is convincing to him in an adult way"?

(see the answer keys)

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