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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. The fact that "in order to get the result you must not look for it" is a _____.
(a) Falsehood.
(b) Justification.
(c) Paradox.
(d) Analogy.

2. Grotowski says in "Skara Speech" that he has underlined the fact through the workshop that there are no impulses or reactions without _____.
(a) Emotion.
(b) Thought.
(c) Contact.
(d) Physicality.

3. In "Actor's Training (1959 - 1962)", Grotowski notes that "The exercise serves the _____."
(a) Point.
(b) Mind.
(c) Research.
(d) Creativity.

4. In "Technique of the Voice" in "Actor's Training (1959 - 1962)", Grotowski begins with _____.
(a) Carrying power.
(b) Dialect.
(c) Articulation.
(d) Respiration.

5. Who based his work with actors on discipline and exterior formation?
(a) Meyerhold.
(b) Stanislavski.
(c) Brecht.
(d) Artaud.

Short Answer Questions

1. Grotowski states in "Skara Speech" that if you do not fix your imaginary partner in a precise place your reactions will ______.

2. What is the name of the exercise from "Actor's Training (1966)" which intends to make the pupil let himself go completely, and at the same time, set the guttural resonator in action?

3. What does Grotowski claim that a great Polish actor before the war referred to exhibitionism as?

4. Grotowski states in "The Actor's Technique" that it is a fact that children, animals, and people who are close to nature breathe _____.

5. Grotowski states in "American Encounter" that he never used the following word although it was at the heart of what he said.

Short Essay Questions

1. What does Grotowski say of "clichés" in "Skara Speech"?

2. How does Grotowski treat his students in class? Why?

3. What different types of breath are there? What is the importance of breath in the actor?

4. What advice does Grotowski give to the actors in the ending of "Actor's Training (1966)"?

5. When asked of the evolution of his technique in "American Encounter", how does Grotowski explain?

6. Describe briefly the "plastic" exercises from "Actor's Training (1959 - 1962)".

7. What do the "exercises in composition" from "Actor's Training (1959 - 1962)" entail?

8. What are the conceptual exercises like in "Actor's Training (1966)"?

9. What are resonators? Where are they in the body?

10. How does Grotowski's technique differ from the theorists he mentions in "The Actor's Technique"?

(see the answer keys)

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