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

Multiple Choice Questions

1. The author writes of his book, "if anyone were to try to use it as a handbook, then I can definitely warn him--there are no _______."
(a) Questions.
(b) Formulas.
(c) Beliefs.
(d) Answers.

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

3. 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."

4. "Brecht recognized this and in his last years he surprised his associates by saying that the theatre must be ____."
(a) Brazen.
(b) Dishonest.
(c) Bold.
(d) Naive.

5. The author writes that "most people could live perfectly well without any ____ at all--and even if they regretted its absence it would not hamper their functioning in any way."
(a) Freedom.
(b) Art.
(c) Sex.
(d) Love.

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

7. 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) John Gielgud.
(b) Peter O'Toole.
(c) Paul Scofield.
(d) Charlie Chaplin.

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

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

10. The aim of acting exercises and improvisation in rehearsals is always the same, according to the actor, which is what?
(a) To find a system of Truth.
(b) To forget their worries.
(c) To aid in remembering lines.
(d) To get away from Deadly Theatre.

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

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

13. 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?
(a) Lynch.
(b) Beckett.
(c) Godard.
(d) Fellini.

14. Who does the author describe as perhaps the most idiosyncratic of all theatre artists?
(a) Actors.
(b) Directors.
(c) Critics.
(d) Designers.

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

Short Answer Questions

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

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

3. What is Artaud's three-minute play, which the author produced first at his "Theatre of Cruelty"?

4. In the third section of the book the author claims, "It is always the ______ theatre that saves the day."

5. Who wrote The Three Sisters?

(see the answer keys)

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