Mid term review quiz

1. Mid term review quiz DR2014 2015

2. RULES • Suggested rules: • Question given to all teams—one minute to confer— • Answer written down on a sheet- • All teams show answers at the same time • In cases of a tie: Best answers may be determined by: enhanced by human sculptures, additional information, explanations, creative powers of persuasion, etc. • Prizes are given ad hoc as we go • Penalties may be imposed as necessary • Decide: can you answer questions you made? • Decide: can you use books?

3. Performers and actors • Up until the 17th century, acting and public speaking we considered linked because of the required abilities to: • a. exercise emotional control • b. to act on a wide physical space • c. to emotionally affect listeners sharing the same space • d. all of the above

4. Performers and actors • In Diderot's Paradox of Acting he argued that : • a. The actor must feel everything the character feels and create an ideal model of behaviour. • b. The actor must be in control of what she is feeling at all times and represents the feelings of the character. • c. The actor must mediate four levels of reality: private person, artist, modèleidéal and acted character. • d. The actor must do all in her power to embrace the situation and feeling of the character although it isn't real. • Bonus question: When was Paradox of Acting written:

5. Acting • What is gestic acting? a. An acting theory focused on using personal memories b. An acting theory that uses an emotional approach c. An acting theory that uses a detached approach d. An acting theory focused on text

6. Space • 3. According to Max Herman's theory, theatre space only comes to life with: • A. Creation of a set • B. The act of human movement • C. When the full production begins

7. Space • What is theatrical space? a. The space that the actors use and perform in b. The architectural conditions and space of a theatre c. The space present on the stage d. The space that is designated for the audience

8. What is theatre semiotics? a. The study of how meaning is produced on stage by signs b. The study of how the actors body moves c. The study of how theatre affects the audience d. The study of how texts transfer to a live performance

9. Performers and actors • Brecht's new technique of 'gestic' acting suggested creating an alienating effect by which of the following means: a. performing in the third person b. transposing the action into the past c. speaking the stage directions and commentaries d. all of the above • Bonus points: demonstrate answers

10. Performers and actors • Grotowski defined acting as a. a communication between self, character and audience b. a communication process between spectators not just a production problem of the actor c. an intense physical transformation where the goal is to convince the audience of the actors' power to represent a character d. an impossible endeavour

11. Performers and actors • In the Nātyashāstrarasa is • a. the feeling of the actors • b. the feelings of the characters • c. the feelings evoked in the audience • d. what the playwright intended • Bonus question: Name the 8 principal rasa:

12. TRANSLATIONS • Which of the following characters appear in Brian Friel's Translations: • a. Barney Petey • b. Donnelly Twins • c. Nellie Rua • d. all of the above • e. none of the above

13. Barney Petey • b. Donnelly Twins • c. Nellie Rua • Bonus points: who are each of the above

14. Bonus questions: • When was Translations first performed:

15. Performance Studies • Name 3 areas in which you can 'perform‘ as described by Richard Schnecher?

16. 2. Which of these is NOT given as criteria for determining theatre period? • a) Monarchies • b) Political empires • c) Language • d) Famous persons

17. What happened to Yolland? (points for most convincing answer—and most outrageous answer)

18. Performance studies • 2. Where do performances take place? A. In action B. In interaction C. In relation D. All of the above

19. Which character says the following line: • "it is not the literal past, the 'facts' of history, that shape us, but images of the past embodied in language" • In your team, argue this point, by either strongly agreeing or strongly disagreeing, using an example from a different source. (1 mins)

20. Theatre history • What is mimesis? a. Part of the cell cycle b. Working with masks c. The imitation of reality d. The textual aspect of theatre

21. Theatre historiography • What is Theatre Iconography focused on? a. A written source b. A visual source c. An oral source d. Designs and drawings for theatre production

22. Performance Studies • How does Richard Schechner explain what performance studies is? a.Explaining "showing doing".  b.The study of all performances.  c.He doesn't actually specify what performance studies is. 

23. Semiotics • What is theatre semiotics?  • 1.Giving the audience half the information of a story.  • 2.A meaning is produced in the stage by means of signs.  • 3.Symbolism being the foundation of character work. 

24. What is the primary influence of Cultural Materialism? a. Marxist Philosophy b. Behaviourism Philosophy c. Materialism in different cultures d. Dualism Philosophy

25. 3. What is a director’s copy?A. A list of stage directionsB. The script C. list of contact information for the directorD. Directors text of the play containing notes on blocking, lighting, sound etc.

26. Postdramatic theatre • . What is postdramatic style theatre?A. Made from a set of images , objects and physical exercise B. Interviews from people attending a certain event.C. Taking a character and adding a story.D. A performance of an event from your life directly.

27. Performance Studies • The difference between "make belief" and "make believe" is: • 1.The blurring the boundary between the world of performance and everyday reality.  • 2.The characters knowing the world is not reality.  • 3.The actors becoming the characters. 

28. Performance analysis • 2. How can a performance be analysed?A. Text/scriptB. Interviews with cast and audience membersC. Video recordings.D. All of the above.

29. Performance Studies • 1. In 'make-believe' performances: a. the boundary between what's real and what's pretended is intentionally blur or sabotaged  b. the distinction between what's real and what's pretended is kept clear c. you have to believe every thing it said d. are often used by politicians

30. Performance studies • In ‘make belief’ performances • Audience must follow all instructions of the actors • Actors must improvise continually • Everyday performances create the very social reality they enact • Company members dreams become the basis for a production

31. Gestures • For Marcel Mauss, the ‘body techniques’ that sustain human life are a. gestural compositions learned via a process of ‘prestigious imitation’ b. are learned by going to the theatre regularly c. are behaviours that a given society imitates and amplifies on stage d. none of the above

32. Post colonial drama In post-colonial drama the recurrent sexual women abuse is used mostly as: a. a dramatic purpose b. to show that women is a sexual and reproductive tool c. a metaphor for the colonizers' violation of the land d. the climax of the play

33. Theatre space The term theatre has its origins in the Greek word theatron which means:         i) a building         ii) a place for dreaming         iii) a place for looking

34. Name 3 visual theatrical sign systems? (after Kowzan 1968) 

35. Space • 3. Which of these theatre spaces, according to Christopher Balme is "both one of the most ancient and most recent"? (50) • a) Proscenium/confrontation • b) Cinema/divided • c) environmental • d) arena

36. Space • 3. Dramatic space refers to: • a. the spatial coordinates fixed in and evoked by theatrical text • b. the architectural conditions of theatre • c. where the performer acts and transform his surroundings • d. scenic space

37. Acting • 4. How many illustrations of emotion did Le Brun draw ? • A. 7 • B. 21 • C. 43 • D. 38 • Bonus: What were these drawings used for?

38. Phenomenology • Bert States described the necessity of a ‘binocular vision’ in theatre. This means that: a. Audience must consider the point of view of both the protagonist and antagonist of any play b. Opera glasses are useful at all theatre events, not just opera c. Audience must combine a semiotic vision, which understands the semantic aspects of a production, with a phenomenological lens which focuses on the direct experiential aspects of a performance