51 Cards in this Set
| Front | Back |
|---|---|
|
Who was considered the first dramaturg?
a. Shakespeare
b. Lessing
c. Doe Macki Braconi
d. Wagner
e. Racine
|
Lessing (from Germany in 1800s, also a play wright, in house critic)
|
|
T/F While the practice of dramaturgy must happen, it is not necessary to have a dramaturg do it
|
true
|
|
A production dramaturg
a. Restages the actors in scenes to make the scenes more effective
b. Makes important decisions about plays pacing
c. Assists the director by supplying info & answering critical questions
d. All of the above
|
Assists the director by supplying info & asking critical questions
|
|
null
|
Which best explains the dif btw literary management & production dramaturgy
a. LM is concerned with the entire season, whereas PD is concerned with a specific production
b. LM are involved in the preparation of production script&dramaturges arent
c. LM are never involved w. …
|
|
T/F: The basic question one asks when considering a play for production is “why this play for this audience at this time?”
|
TRUE
|
|
T/F: Formal training is not needed to be a playwright
|
TRUE
|
|
T/F: The possible sources of inspiration for a new play and the working methods of playwrights are incredibly diverse
|
TRUE
|
|
T/F: Imagine you are a young child during the Renaissance. You can collect copies of the plays you would like and purchase them to own and read at any time
|
FALSE - not everyone could read; no printing press; actors specific part were written on a side (didnt have entire play)
|
|
Who attended performances during the Renaissance?
a. Only royalty
b. Mostly middle class merchants & upper classes
c. Range of classes, including men & women
d. Only men
|
Range of classes, including men & women
|
|
Where were performances during the Renaissance?
a. On street corners
b. At religious festivals once a year
c. In the churches & monasteries
d. Purpose
|
Purpose – built playhouses outside of London
|
|
What was theatres purpose at this time?
a. Served primarily as a religious function
b. Was mainly political/served as political function
c. Was largely commercial and entertaining
|
Was largely commercial and entertaining
|
|
Which audience area had the least expensive admission price?
a. The Gallaries
b. The Yard
c. Private boxes/ Lord’s room
d. This is a trick question- there was only one general admission price for any audience area
|
The Yard (people stood near stage; open area)
|
|
null
|
Identify the correct Elizabethan Theatrical Conventions
a. Use of spoken décor to establish particular locations
b. Non-illusionistic staging vs. fully depicted scenery
c. Use of soliloquy
d. Presence of neutral focade (1 basic setting; structure of stage itself)
e. …
|
|
Who is William Shakespeare?
a. Statesman & politican
b. Actor
c. Playwright
d. The only playwright of his time
e. Part owner of an acting company
f. B, C, E
g. A, C, D
|
B, C, E
|
|
In The Tempest, according to Prospero, why does he enslave Caliban?
a. He tried to run off with Prospero’s daughter
b. He is a thief
c. He attempted to murder Miranda
d. He attempted to rape Miranda
e. He uses foul & abusive language
|
He attempted to rape Miranda
|
|
In The Tempest Caliban has learned language from Miranda, what use does it serve him?
a. To make magic & spells
b. To make merriment
c. To make love
d. To curse
|
To curse
|
|
Under Taymour’s direction of the play what is The Tempest about?
a. Human nature
b. Religion
c. Science
d. Conquest
e. A & D
|
A & D (globalized post colonial critique)
|
|
Where did Taymour use shadow puppetry in The Tempest?
a. For the character of Ariel
b. For the opening sequence with the ship & storm
c. For Calibans rock-like mask
d. For the stage setting of the island
|
For the opening sequence with the ship & storm
|
|
Stage acting requires
a. Concentration
b. Imagination
c. A flexible, disciplines, & expressive voice & body
d. All of the above
|
All the above
|
|
An actor only needs to understand his or her own role and not be concerned with the others
|
False
|
|
Is it possible for a character not to have an objective?
|
NO.
|
|
What are “tactics?”
|
a. Descriptive adjective that describe how an actor approaches the scene – “coyly” “angrily”
b. A characters intentions or verb choices that show what actor is doing to get what he/she wants
c. The obstacle or conflict in the scene that the actors face
|
|
What are two typical objectives often motivating a character
a. Revenge/murder
b. Passion/trade
c. Power/passion
d. Money/fame
e. Revenge/power
|
Power/passion
|
|
What does an actor doing scene study typically do?
|
a. Identifies the characters desires & actions while breaking the scene into beats
b. Notes changes in tempo & rhythm that the text and type of interaction provides
c. Notes how the dramatic action develops
d. All the above
|
|
T/F: Acting is primarily an imitation
|
false - we strive for truth in acting (authenticity)
|
|
For the most effective performance & clear story telling what should an actor focus on
a. The characters objective
b. Using clear physical choices
c. The size of the audience
d. Maintaining eye contact
e. A&B
f. C&D
|
A&B
|
|
This method of acting involves given circumstances, objectives, and super- objective that an actor analyzes in order to develop his character & his characters actions
|
a. Stanislavski’s method (every American theatre institute follows this in some way)
b. Peter brooks intercultural approach
c. Grotowski’s approach
d. The Suzuki method
|
|
Isben’s dramas were considered controversial because
a. They sensationalized violence through elaborate spectacle
b. They focused on lower-class characters & unsavory lifestyles
c. They challenged existing moral values & social norms
|
They challenged existing moral values & social norms
|
|
How does A Doll House exemplify realism
|
a. Most of the characters & complex imperfect human being trying to do what they think is right
b. The play develops logically through cause & effect dramatic construction
c. There is much spectacle & violence
d. The play focuses on characters within an environment that…
|
|
T/F: Hispanic/American/Latino/Chicano theatre emerged for the first time in 1960’s
|
false - much longer history 1526
|
|
Chicano theatre is often concerned with
a. Reaffirming cultural identity
b. Stressing dual identity
c. Political ideas, advocating for better working conditions for Chicanos
d. All the above
|
all the above
|
|
Valdez developed “actos” to
a. Inspire audience to social action
b. Illuminate specific point about social problems
c. Satirize the opposition while showing or hinting at a solution
d. All of the above
|
all the above
|
|
Los Vendidos is an example of what kind of comedy
a. Domestic comedy
b. Romantic comedy
c. Comedy of situation & character
d. Satire
e. All the above
|
Satire – because of his political attempt to change
|
|
T/F: Los Vendidos is about a particular Mexican American who denies his/her Mexican heritage & attempt to “pass”
|
True Miss Jimenes “call me Jimmy
|
|
Which is NOT ordinarily a responsibility of the director?
|
a. To coordinate integration of all the elements into finished production
b. To decide upon interpretation of script & concept for production
c. To cast & rehearse performances
d. To determine total cost of the production & its projected income (producers role)
|
|
The typical rehearsal schedule follows which process?
|
a. Read & discuss script, blocking, memorize lines, ensemble playing, technical rehearsals
b. Blocking, memorize lines, ensemble playing, read & discuss script, technical rehearsals
c. Read & discuss script, blocking, ensemble playing, technical rehearsals, memorize lines
|
|
The term "blocking" refers to
|
a. Establishing performers movements from place to place and bodily positions on stage
b. Scheduling of rehersals in long time segments
c. Directors use of invented obstacles to heighten the emotional frustration of a character
d. All the above
|
|
Which statement best defines auteur directorial approach?
|
a. Director tries to transfer script as literally as possible from page to page
b. Director articulates a defined focus from the production
c. Director uses script as raw material to be reshaped for his own purpose
|
|
T/F: the producers primary functions are financial and marginal in nature
|
true
|
|
T/F: One of the other roles of the producers is to lead rehersals and assist the actors
|
false
|
|
Which statement best describes the necessary work produced by the producer?
|
a. Producer asks critical questions & supplies additional info about play & period
b. Producer provides the space, personnel & money the director needs to realize his/her vision
c. Producer supplies designs that will be needed for costumes & scenery to be constructed
|
|
Which of the following influences Wilson?
a. The play A Raisin in The Sun
b. Rap music and politics
c. The Blues, Baraka, Bearden, and Borges
d. His high school education and frustrated career as an athlete
|
The Blues, Baraka, Bearden, and Borges
|
|
What is Fences historical setting?
|
a. Set during age of Harlem Renaissance, 1920s jazz
b. Set during the height of Black Nationalist movement under Marcus Garvey
c. Set during the 1950s and 1960s, pre-civil rights era (1957)
d. Set in the late 1890’s, during a time of segregation and a “separate but equal”…
|
|
What is the plays major dramatic question?
|
a. Will Rose and Troy Maxson have another child?
b. Wil Rose divorce Troy? Will they reconcile their differences and stay married?
c. Will troy get over his bitterness, keep his family together, and let his son follow his dreams?
d. Will Gabriel confront Troy about his li…
|
|
What is the climax of Fences?
a. When Gabriel gives Rose a rose
b. When Cory tells Troy he got a football scholarship
c. When Troy passes on and Cory and Raynell sing about Ol’ Blue
d. When troy confesses about his affair with Alberta
|
d. When troy confesses about his affair with Alberta
|
|
How does Smith approach working on a new play?
a. She improvises text, like Valdez’s actors
b. She works collaboratively with a group of actors to approach scenes spontaneously
c. She interviews people and uses an approach called devising
|
She interviews people and uses an approach called devising
|
|
This play appears as a series of monologues. How is there dialogue in Fires?
|
a. Between actors and real life character she performed
b. Between characters – speeches are in connection with each other
c. Between character and spectator
d. All of the above
e. This is a trick question, there is no dialogue
|
|
T/F: This is a political drama that affirms one specific political position
|
FALSE
It is a political drama but not only ONE specific position)
|
|
T/F: Smith is best known for a series of one woman shows
|
true
|
|
How did musical theatre change in the early 20th century?
|
A. story gained importance
B. psychological motivation became important feature
C. integrated music, story, dance, and visual elements in order to forward dramatic action
D. Choreography became significant, most prominent feature
E. A,B,C
|
|
Besides contributing to the appeal of a show, how does music and choreography facilitate storytelling?
|
a. Lyrics contribute to clarity
b. Music can connect or recall moments separated in time
c. Music assists in condensing time
d. Music establishes mood and builds expectation
e. Choreography conveys story
f. All of the above
|
DRAM 1101: FINAL