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This test consists of 5 multiple choice questions, 5 short answer questions, and 10 short essay questions.

Multiple Choice Questions

1. Every work and every period has its own what?
(a) Mannerism.
(b) Style.
(c) Cadence.
(d) Eloquence.

2. The author writes of an actor who studied the part of Hamlet for how many years and never played it because the director died before it was finished?
(a) Seven.
(b) Two.
(c) Ten.
(d) Four.

3. The theory of what is: "a spectator can be jolted eventually into new sight, so that he wakes to the life around him"?
(a) Happenings.
(b) Surrealism.
(c) Cruelty.
(d) Absurdism.

4. "When the Royal Shakespeare Company's production of King Lear toured through Europe, the production was steadily improving and the best performances lay between" where?
(a) Norway and Ireland.
(b) Budapest and Moscow.
(c) Moscow and Ukraine.
(d) Paris and Sicily.

5. There is often a call for performing the classics in what way?
(a) In a modern way.
(b) Without regard to language.
(c) As they were written.
(d) As they were performed.

Short Answer Questions

1. In Grotowski's theory, "the act of performance is an act of" what?

2. The author contends that "we do not know how to celebrate, because we do not know ____ to celebrate."

3. What era was a thriving point for Jouvet and Bérard, Jean-Louis Barrault, Clave at the ballet, Don Juan, Amphitryon, La Folk de Chaillot, Carmen, and others?

4. What does the author refer to Meyerhold's experiments as?

5. The author writes that in New York the most deadly element of the theatre is certainly what?

Short Essay Questions

1. How does "change" relate to the theatre and its success?

2. How does the author define "The Holy Theatre"?

3. How does the author compare the "deadly theatre" to the "deadly bore?"

4. How does the author tie Haitian voodoo to the art of performance?

5. Describe the difference between the Pekin Opera Company and the Formosa Opera Company.

6. What metaphor does the author use for the theatre in the first section of the book, and what is his meaning?

7. What playwright does the author write of whose work transcends the absurd?

8. How does boringness contribute to people attending Deadly Theatre?

9. What are the four forms of theatre the author discusses, and where can they be found?

10. What does the author say in regard to replication and manner in the Deadly Theatre?

(see the answer keys)

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