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NY-SG-FLD078-03
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PREPARATION GUIDE
Theatre CST (78)
Table of Contents
1 ....................................................................................................................... Introduction
2 ........................................................................General Information about the NYSTCE
4 ....................................................................................................... Test-Taking Strategies
6 ..................................................................................................... About the Theatre Test
7 .................................................................................................... Theatre Test Objectives
14 .................................................................................................Multiple-Choice Section
15 ............................................ Sample Test Directions for Multiple-Choice Questions
16 ........... Sample Multiple-Choice Questions, Correct Responses, and Explanations
32 .......................................................................................... Written Assignment Section
33 .................................................. Sample Test Directions for the Written Assignment
34 .......................................................................................... Sample Written Assignment
35 .................................................Strong Response to the Sample Written Assignment
36 ......................................................... Performance Characteristics and Scoring Scale
37 ............................................................................... Evaluation of the Strong Response
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„ INTRODUCTION
Purpose of This Preparation Guide
This preparation guide is designed to help familiarize candidates with the content and
format of a test for the New York State Teacher Certification Examinations (NYSTCE®)
program. Education faculty and administrators at teacher preparation institutions may also
find the information in this guide useful as they discuss the test with candidates.
The knowledge and skills assessed by the test are acquired throughout the academic career
of a candidate. A primary means of preparing for the test is the collegiate preparation of the
candidate.
This preparation guide illustrates some of the types of questions that appear on a test;
however, the set of sample questions provided in this preparation guide does not
necessarily define the content or difficulty of an entire actual test. All test components
(e.g., directions, question content and formats) may differ from those presented here.
The NYSTCE program is subject to change at the sole discretion of the New York State
Education Department.
Organization of This Preparation Guide
Contained in the beginning sections of this preparation guide are general information about
the NYSTCE program and how the tests were developed, a description of the organization
of test content, and strategies for taking the test.
Following these general information sections, specific information about the test described
in this guide is presented. The test objectives appear on the pages following the test-specific
overview. The objectives define the content of the test.
Next, information about the multiple-choice section of the test is presented, including
sample test directions. Sample multiple-choice questions are also presented, with the
correct responses indicated and explanations of why the responses are correct.
Following the sample multiple-choice questions, a description of the written assignment
section of the test is provided, including sample directions. A sample written assignment is
presented next, followed by a sample strong response to the assignment and an evaluation
of that response.
For Further Information
If you have questions after reading this preparation guide, you may wish to consult the
NYSTCE Registration Bulletin. You can view or print the registration bulletin online at
www.nystce.nesinc.com.
„1„
„ GENERAL INFORMATION ABOUT THE NYSTCE
How Were the NYSTCE Tests Developed?
The New York State Teacher Certification Examinations are criterion referenced and
objective based. A criterion-referenced test is designed to measure a candidate's knowledge
and skills in relation to an established standard rather than in relation to the performance of
other candidates. The explicit purpose of these tests is to help identify for certification those
candidates who have demonstrated the appropriate level of knowledge and skills that are
important for performing the responsibilities of a teacher in New York State public schools.
Each test is designed to measure areas of knowledge called subareas. Within each subarea,
statements of important knowledge and skills, called objectives, define the content of the
test. The test objectives were developed for the New York State Teacher Certification
Examinations in conjunction with committees of New York State educators.
Test questions matched to the objectives were developed using, in part, textbooks; New
York State learning standards and curriculum guides; teacher education curricula; and
certification standards. The test questions were developed in consultation with committees
of New York State teachers, teacher educators, and other content and assessment specialists.
An individual's performance on a test is evaluated against an established standard. The
passing score for each test is established by the New York State Commissioner of Education
based on the professional judgments and recommendations of New York State teachers.
Examinees who do not pass a test may retake it at any of the subsequently scheduled test
administrations.
„2„
Organization of Content
The content covered by each test is organized into subareas. These subareas define the
major content domains of the test.
Subareas typically consist of several objectives. Objectives provide specific information
about the knowledge and skills that are assessed by the test.
Each objective is elaborated on by focus statements. The focus statements provide
examples of the range, type, and level of content that may appear on the tests.
Test questions are designed to measure specific test objectives. The number of objectives
within a given subarea generally determines the number of questions that will address the
content of that subarea on the test. In other words, the subareas that consist of more
objectives will receive more emphasis on the test and contribute more to a candidate's test
score than the subareas that consist of fewer objectives.
The following example, taken from the field of Social Studies, illustrates the relationship of
test questions to subareas, objectives, and focus statements.
SOCIAL STUDIES (05)
SUBAREA I—HISTORY
0003 Understand the major political, social, economic, scientific, and cultural
developments and turning points that shaped the course of world history from 1500
through 1850.
analyzing the roles, contributions, and diverse perspectives of individuals and
groups involved in independence struggles in Latin America
Which of the following was an important
goal of nineteenth-century Latin American
liberals?
A. establishing governments based on the
separation of church and state
B. reducing the influence of competitive
individualism in social and economic life
C. creating strong centralized governments
D. making plantation agriculture the
foundation of economic development
Each multiple-choice question is designed to measure one of the test
objectives.
The focus statements provide examples of the range, type, and level of content
that may appear on the test for questions measuring the objective.
The objectives define the knowledge and skills that New York State teachers and teacher
educators have determined to be important for teachers to possess.
The field is divided into major content subareas. The number of objectives in each subarea may
vary, depending on the breadth of content contained within it.
This is the name and field number of the test.
„3„
„ TEST-TAKING STRATEGIES
Be On Time.
Arrive at the test center on time so that you are rested and ready to begin the test when
instructed to do so.
Follow Directions.
At the beginning of the test session and throughout the test, follow all directions carefully.
This includes the oral directions that will be read by the test administrators and any written
directions in the test booklet. The test booklet will contain general directions for the test as a
whole and specific directions for individual test questions or groups of test questions. If
you do not understand something about the directions, do not hesitate to raise your hand
and ask your test administrator.
Pace Yourself.
The test schedule is designed to allow sufficient time for completion of the test. Each test
session is four hours in length. The tests are designed to allow you to allocate your time
within the session as you need. You can spend as much time on any section of the test as
you need, and you can complete the sections of the test in any order you desire; however,
you will be required to return your materials at the end of the four-hour session.
Since the allocation of your time during the test session is largely yours to determine,
planning your own pace for taking the test is very important. Do not spend a lot of time
with a test question that you cannot answer promptly; skip that question and move on. If
you skip a question, be sure to skip the corresponding row of answer choices on your
answer document. Mark the question in your test booklet so that you can return to it later,
but be careful to appropriately record on the answer document the answers to the
remaining questions.
You may find that you need less time than the four hours allotted in a test session, but you
should be prepared to stay for the entire time period. Do not make any other commitments
for this time period that may cause you to rush through the test.
Read Carefully.
Read the directions and the questions carefully. Read all response options. Remember that
multiple-choice test questions call for the "best answer"; do not choose the first answer that
seems reasonable. Read and evaluate all choices to find the best answer. Read the questions
closely so that you understand what they ask. For example, it would be a waste of time to
perform a long computation when the question calls for an approximation.
Read the test questions, but don't read into them. The questions are designed to be straightforward, not tricky.
„4„
Mark Answers Carefully.
Your answers for all multiple-choice questions will be scored electronically; therefore, the
answer you select must be clearly marked and the only answer marked. If you change your
mind about an answer, erase the old answer completely. Do not make any stray marks on
the answer document; these may be misinterpreted by the scoring machine.
IF YOU SKIP A MULTIPLE-CHOICE QUESTION, BE SURE TO SKIP THE CORRESPONDING ROW OF ANSWER CHOICES ON YOUR ANSWER DOCUMENT.
You may use any available space in the test booklet for notes, but your answers and your
written response must be clearly marked on your answer document. ONLY ANSWERS
AND WRITTEN RESPONSES THAT APPEAR ON YOUR ANSWER DOCUMENT WILL
BE SCORED. Answers and written responses in your test booklet will not be scored.
Guessing
As you read through the response options, try to find the best answer. If you cannot quickly
find the best answer, try to eliminate as many of the other options as possible. Then guess
among the remaining answer choices. Your score on the test is based on the number of test
questions that you have answered correctly. There is no penalty for incorrect answers;
therefore, it is better to guess than not to respond at all.
Passages or Other Presented Materials
Some test questions are based on passages or other presented materials (e.g., graphs, charts).
You may wish to employ some of the following strategies while you are completing these
test questions.
One strategy is to read the passage or other presented material thoroughly and carefully
and then answer each question, referring to the passage or presented material only as
needed. Another strategy is to read the questions first, gaining an idea of what is sought in
them, and then read the passage or presented material with the questions in mind. Yet
another strategy is to review the passage or presented material to gain an overview of its
content, and then answer each question by referring back to the passage or presented
material for the specific answer. Any of these strategies may be appropriate for you. You
should not answer the questions on the basis of your own opinions but rather on the basis of
the information in the passage or presented material.
Check Accuracy.
Use any remaining time at the end of the test session to check the accuracy of your work.
Go back to the test questions that gave you difficulty and verify your work on them. Check
the answer document, too. Be sure that you have marked your answers accurately and have
completely erased changed answers.
„5„
„ ABOUT THE THEATRE TEST
The purpose of the Theatre Content Specialty Test (CST) is to assess knowledge and skills in
the following five subareas:
Subarea I.
Creating, Performing, and Producing Theatre
Subarea II.
Theatre Tools, Media, and Techniques
Subarea III.
Theatre and Culture
Subarea IV.
Responding to and Analyzing Theatre
Subarea V.
Theatre Tools, Media, and Techniques:
Constructed-Response Assignment
The test objectives presented on the following pages define the content that may be assessed
by the Theatre CST. Each test objective is followed by focus statements that provide
examples of the range, type, and level of content that may appear on the test for questions
measuring that objective.
The test contains approximately 90 multiple-choice test questions and one constructedresponse (written) assignment. The figure below illustrates the approximate percentage of
the test corresponding to each subarea.
Subarea I.
Approx. 33%
Constructed-Response
Assignment
Subarea V.
Approx. 10%
Subarea II.
Approx. 23%
Subarea IV.
Approx. 17%
Subarea III.
Approx. 17%
The section that follows the test objectives presents sample test questions for you to review
as part of your preparation for the test. To demonstrate how each objective may be
assessed, a sample question is presented for each objective. The correct response and an
explanation of why the response is correct follow each question. A sample written
assignment is also presented, along with an example of a strong response to the assignment
and an evaluation of that response.
The sample questions are designed to illustrate the nature of the test questions; they should
not be used as a diagnostic tool to determine your individual strengths and weaknesses.
„6„
„ THEATRE TEST OBJECTIVES
Creating, Performing, and Producing Theatre
Theatre Tools, Media, and Techniques
Theatre and Culture
Responding to and Analyzing Theatre
Theatre Tools, Media, and Techniques: Constructed-Response Assignment
The New York State theatre educator has the knowledge and skills to teach effectively in
New York State public schools. The theatre educator knows the principles and processes
associated with the creation of dramatic texts and theatrical productions. The theatre
educator also understands the elements and skills used by directors, technical designers,
and actors in various theatrical styles and traditions. The theatre educator understands the
aesthetic connection between theatre and culture and how that connection influences
people in their everyday lives. Finally, the theatre educator understands the basic principles
of theatre criticism and analysis and can describe how the various components of theatrical
productions are used to create meaning.
SUBAREA I—CREATING, PERFORMING, AND PRODUCING THEATRE
0001
Understand principles of playwriting and dramatic structure.
For example:
•
identifying methods for imitating and communicating ideas, feelings, and
experiences through improvisation, pantomime, play making, dramatic play, story
dramatization, storytelling, role playing, guided playwriting, and script writing
•
demonstrating knowledge of how improvisation can be used to generate ideas for
stories, actions, characters, and environments for a script
•
recognizing sources of ideas (e.g., personal stories, picture books, folklore,
literature, history, imagination, information about other cultures) for
improvisations and creative drama
•
recognizing ways to communicate ideas and feelings (e.g., tension, suspense)
through a script (e.g., plot, characters, setting, theme, mood)
•
applying methods of refining scripts so story and meaning are conveyed to the
audience
•
identifying methods of formatting a script (e.g., recording dialogue and action;
identifying stage settings, characters, acts, and scenes; providing stage
directions)
„7„
0002
Understand principles of acting.
For example:
0003
•
applying methods of analyzing a script to determine the physical, emotional,
psychological, and social dimensions of characters, their relationships, and their
environments to support creative choices
•
demonstrating an understanding of methods for discovering, articulating, and
justifying a character's motivation (e.g., subtext, action, beats)
•
recognizing methods of interacting with others in role playing, improvisation,
rehearsal, and performance
•
recognizing methods for improving concentration, sense memory, and
observation skills
•
demonstrating knowledge of various classical and contemporary acting
techniques, methods, and styles
•
demonstrating an understanding of the concept of ensemble work
Understand vocal techniques used in acting.
For example:
0004
•
demonstrating knowledge of ways to structure a warmup to prepare the voice
•
applying techniques of sound production (e.g., articulation, enunciation, diction,
phrasing, pitch, breath control, projection) to communicate meaning and develop
characterization
•
identifying ways to use language (e.g., pitch, tempo, tone, timing, pacing) to
communicate feelings and ideas and develop characterization
Understand body techniques used in acting.
For example:
•
demonstrating knowledge of ways to structure a warmup to prepare the body
•
applying techniques of movement to communicate meaning and develop
characterization
•
applying techniques of body position (e.g., posture, isolation, focus, sitting,
standing) and gesture to communicate meaning and develop characterization
•
demonstrating knowledge of how to combine vocal techniques with movement
and body techniques to create believable characters
„8„
0005
Understand principles of directing theatrical productions.
For example:
0006
•
evaluating methods of holding auditions (e.g., prepared monologues, cold
readings, improvisation) and casting (e.g., casting according to learning
objectives, nontraditional casting)
•
applying methods of analyzing a script to determine the message of the work and
how its component parts contribute to communication of that message to an
audience
•
demonstrating knowledge of techniques for creating a unified vision that is
shared by all members of the production team (e.g., actors, designers,
technicians)
•
demonstrating an understanding of methods for guiding actors in creating roles
and developing character relationships
•
identifying the elements involved in staging theatrical performances (e.g., stage
movement, blocking, focus, levels, balance)
•
demonstrating knowledge of communication skills and social, group, and
consensus-building skills
•
demonstrating knowledge of techniques for creating a safe and positive working
atmosphere that encourages and promotes collaboration, trust, and creativity
Understand principles of producing theatrical performances.
For example:
•
applying procedures for scheduling, budgeting, planning, promoting, and
managing theatrical performances
•
identifying the roles and responsibilities of individuals (e.g., stage manager,
house manager) involved in theatrical productions
•
recognizing methods of collaboration that develop a unified production concept
•
demonstrating knowledge of legal issues (e.g., royalties, copyrights, liability,
contracts) related to theatrical productions
•
recognizing factors in selecting appropriate works that reflect an understanding of
student development, audience, and production elements (e.g., performance
space, number of participants)
„9„
SUBAREA II—THEATRE TOOLS, MEDIA, AND TECHNIQUES
0007
Understand skills and techniques of theatrical lighting and sound production.
For example:
0008
•
demonstrating knowledge of basic lighting and sound technology, equipment,
and supplies
•
demonstrating knowledge of the basic physical properties of light, color, and
sound
•
selecting elements of lighting and sound to help create a particular environment,
time, mood, and effect
•
evaluating the effectiveness of lighting and sound choices in communicating the
intent of a production
•
demonstrating an understanding of the principles and elements of lighting and
sound design for a theatrical production
Understand methods of creating props and designing sets.
For example:
0009
•
identifying techniques, methods, and materials for creating props and designing
sets to represent a particular environment, time, and mood
•
demonstrating knowledge of the technical aspects of set construction (e.g., flats,
drops, platforms, painting)
•
evaluating the effectiveness of prop and set choices in communicating the intent
of a production
•
demonstrating an understanding of design principles and elements (e.g., space,
color, line, shape, texture, repetition, balance, emphasis, contrast, unity) as they
relate to set and prop design
Understand methods of costume design and makeup application.
For example:
•
identifying techniques, methods, and materials for creating costumes and
applying makeup to suggest character and communicate the intent of a
production
•
demonstrating an understanding of design principles and elements (e.g., space,
color, line, shape, texture, repetition, balance, emphasis, contrast, unity) as they
relate to costumes and makeup
•
recognizing production-related factors that affect costume and makeup design
(e.g., cost, movement, quick-change requirements)
„ 10 „
0010
Understand how to develop an overall technical environment for theatrical
productions.
For example:
•
analyzing the interrelated nature of lighting, costumes, makeup, sound, props,
scenery, acting, and direction in creating a unified theatrical production
•
analyzing improvised and scripted scenes for technical requirements
•
identifying safety issues involved with lighting, costumes, makeup, sound, props,
and scenery
•
demonstrating knowledge of various types of performance spaces
(e.g., classroom, proscenium stage, arena, local theatre, dinner theatre)
and analyzing how the characteristics of a performance space can influence
production decisions
•
demonstrating an understanding of the roles of stage managers, house
managers, and crew
SUBAREA III—THEATRE AND CULTURE
0011
Understand the history of theatre in cultures throughout the world.
For example:
0012
•
analyzing the development of dramatic forms, production practices, and theatrical
traditions across cultures and historical periods
•
identifying and comparing the lives, works, and influences of representative
dramatic artists in various cultures and historical periods
•
comparing how universal characters, situations, and themes are treated in
dramatic works from various cultures and historical periods
•
comparing the aesthetic philosophies of dramatic works from different cultures
and historical periods
•
analyzing the relationships among cultural values, freedom of artistic expression,
ethics, and artistic choices in various cultures and historical periods
•
identifying the cultural and historical sources of U.S. theatre and musical theatre
Understand lifelong participation in the theatre.
For example:
•
identifying the various vocations and avocations available in performing,
producing, and promoting theatre
•
demonstrating an understanding of the skills and preparation necessary for
theatre vocations and avocations
•
demonstrating knowledge of resources and opportunities for participation in
theatre in the community
„ 11 „
0013
Understand the role of theatre in daily life.
For example:
•
analyzing the emotional and social effects of theatre on individuals, communities,
and cultures
•
explaining the meaning and social function of different types of theatrical
productions
•
recognizing how theatrical experiences relate to current personal, national, and
international issues
•
identifying and comparing various settings and reasons for creating and attending
theatrical productions
•
demonstrating knowledge of how social concepts (e.g., cooperation,
communication, collaboration, consensus, self-esteem, risk taking, sympathy,
empathy) apply in theatre and in life
•
identifying ways of bringing the theatre experience to individuals from diverse
backgrounds
SUBAREA IV—RESPONDING TO AND ANALYZING THEATRE
0014
Understand principles of theatre analysis and criticism.
For example:
0015
•
demonstrating knowledge of the techniques and vocabulary of theatre criticism
•
analyzing artistic choices made in theatrical productions and suggesting
alternatives
•
analyzing the effects of publicity, study guides, programs, workshops, talkbacks,
and the physical environment on an audience's response to and appreciation of a
theatrical production
•
identifying major themes in theatrical productions and analyzing how artistic
choices support these themes
Understand research methods for use in creating a theatrical production.
For example:
•
analyzing dramatic texts from cultural and historical perspectives to determine
production requirements
•
demonstrating knowledge of script analysis and its application to performance
and production
•
demonstrating knowledge of methods to research the background of a dramatic
text
•
applying research from print and nonprint resources to script-writing, acting,
design, and directing choices
•
identifying school and community resources available for research regarding
theatrical productions (e.g., published scripted materials, print resources,
electronic resources, current technologies, museums, theatre professionals)
„ 12 „
0016
Understand the relationship of theatre to other art forms (e.g., music, dance, visual
arts) and other disciplines.
For example:
•
comparing the basic nature, functions, and elements of theatre, and themes,
materials, and means of communicating used in theatre, with those aspects of
other art forms
•
analyzing how other art forms are used in theatrical productions
•
comparing theatre with other types of dramatic productions (e.g., film, video,
television, electronic media)
•
explaining how theatrical experiences relate to other literary and artistic
experiences
•
comparing interpretations and expressions of ideas in several art forms within
and across specific cultures and historical periods
•
identifying how drama and theatre can be used to enhance the study of other
subjects in the curriculum
SUBAREA V—THEATRE TOOLS, MEDIA, AND TECHNIQUES: CONSTRUCTED-RESPONSE
ASSIGNMENT
The content to be addressed by the constructed-response assignment is described in
Subarea II, Objectives 7–10.
„ 13 „
„ MULTIPLE-CHOICE SECTION
This preparation guide provides sample multiple-choice questions and a sample written
assignment for the test. The multiple-choice questions illustrate the objectives of the test—one
sample question for each objective.
Three pieces of information are presented for each test question:
1. the number of the test objective that the sample question illustrates,
2. a sample test question,
3. an indication of the correct response and an explanation of why it is the best available
response.
Keep in mind when reviewing the questions and response options that there is one best
answer to each question. Remember, too, that each explanation offers one of perhaps many
perspectives on why a given response is correct or incorrect in the context of the question; there
may be other explanations as well.
On the following page are sample test directions similar to those that candidates see when they
take the test.
„ 14 „
„ SAMPLE TEST DIRECTIONS FOR
MULTIPLE-CHOICE QUESTIONS
DIRECTIONS
This test booklet contains a multiple-choice section and a section with a single written assignment.
You may complete the sections of the test in the order you choose.
Each question in the first section of this booklet is a multiple-choice question with four answer
choices. Read each question CAREFULLY and choose the ONE best answer. Record your answer
on the answer document in the space that corresponds to the question number. Completely fill in the
space that has the same letter as the answer you have chosen. Use only a No. 2 lead pencil.
Sample Question:
1.
What is the capital of New York?
A.
B.
C.
D.
Buffalo
New York City
Albany
Rochester
The correct answer to this question is C. You would indicate that on the answer document as
follows:
1.
You should answer all questions. Even if you are unsure of an answer, it is better to guess than not to
answer a question at all. You may use the margins of the test booklet for scratch paper, but you will
be scored only on the responses on your answer document.
The directions for the written assignment appear later in this test booklet.
FOR TEST SECURITY REASONS, YOU MAY NOT TAKE NOTES OR REMOVE ANY OF THE
TEST MATERIALS FROM THE ROOM.
The words "End of Test" indicate that you have completed the test. You may go back and review
your answers, but be sure that you have answered all questions before raising your hand for
dismissal. Your test materials must be returned to a test administrator when you finish the test.
If you have any questions, please ask them now before beginning the test.
DO NOT GO ON UNTIL YOU ARE TOLD TO DO SO.
„ 15 „
„ SAMPLE MULTIPLE-CHOICE QUESTIONS,
CORRECT RESPONSES, AND EXPLANATIONS
Objective 0001
Understand principles of playwriting and dramatic structure.
1.
Which of the following techniques most
effectively creates suspense in a play?
A.
ending the play with an unexpected
turn of events
B.
interrupting a scene before a full
resolution is reached
C.
posing compelling circumstances
early in the play
D.
assigning each character a secret
that is eventually revealed
Correct Response: C. Establishing a sense of conflict in the beginning of a play is a means
of capturing the audience's attention and propelling the audience forward into the plot. When
that conflict involves compelling circumstances, such as an unexplainable event or scenario,
suspense is effectively established early in the play. If the tension that is created is then built
upon as the story unfolds, the effect is to keep the audience wanting to learn the outcome and
final resolution.
„ 16 „
Objective 0002
Understand principles of acting.
2.
A skilled actor's primary purpose for
dividing a scene into individual beats
is to:
A.
discover moments where the
intentions of the character change.
B.
identify tonal and gestural
possibilities in the script.
C.
separate the script into segments
that are easier to memorize.
D.
emphasize individual cycles of
conflict and resolution.
Correct Response: A. A skilled actor develops character for a role by creating a believable
persona that lives within the action of the script. Understanding where the intentions of the
character change is an essential element of character development. The technique of dividing
a scene into individual beats establishes patterns, rhythms, pauses, and breaks in dialogue and
action that can become key indicators of changes in the intention of the character.
„ 17 „
Objective 0003
Understand vocal techniques used in acting.
3.
An actor typically alters the pitch of
spoken dialogue to:
A.
speed up slow-moving scenes.
B.
set off sustained monologues.
C.
emphasize moments of silence.
D.
vary emotional intensity.
Correct Response: D. Pitch, the tone level at which words are spoken, conveys a character's
mood or emotion. Words spoken at a high pitch will convey a different feeling than the same
words spoken at a low pitch. By altering the pitch of the words being spoken, an actor can
change the emotional intensity he or she conveys.
„ 18 „
Objective 0004
Understand body techniques used in acting.
4.
Mikhail Chekhov's technique of
"Psychological Gesture" requires an
actor to:
A.
convert a character's mental state
into physical action.
B.
use sense memory to trigger real
emotions in performance.
C.
place the center of dynamic energy
in the head and upper torso.
D.
perform an arc of movement during
a character's emotional climax.
Correct Response: A. To help actors focus on the internal underlying psychological forces
that motivate and compel a character to speak and act, and to promote a more genuine form
of acting, Mikhail Chekhov developed the technique of "Psychological Gesture." Using this
technique, an actor develops a gesture or physical movement that expresses the core of a
character's psychology. Whenever the gesture is performed, feelings are created in the actor's
body that allow the character to come to life quickly and efficiently.
„ 19 „
Objective 0005
Understand principles of directing theatrical productions.
5.
In approaching play analysis, it is most
helpful for a beginning director to:
A.
prepare a thorough written analysis
in advance of the rehearsal period.
B.
analyze portions of the play as they
are rehearsed.
C.
divide the analysis among members
of the production team.
D.
analyze the play with a wide range
of mental notes.
Correct Response: A. The director's role is to provide clear and organized leadership while
orchestrating a unified concept and direction among the numerous components that contribute
to a successful production. In-depth familiarity with the script is an essential and necessary
requisite for a beginning director in particular.
„ 20 „
Objective 0006
Understand principles of producing theatrical performances.
6.
When selecting a script for a high school
play, it is most important to consider
which of the following questions?
A.
Are a majority of the characters
teenagers?
B.
Does the script carry an uplifting
message?
C.
Are there a roughly equal number of
roles for males and females?
D.
How challenging is the play to
perform?
Correct Response: D. One of the primary purposes of producing plays on a high school level
is to provide meaningful and successful theatre experiences for the student population. The
director is expected to select plays with a variety of characters, plots, themes, and roles. It is
most important, however, that the plays selected are neither overly simplistic nor excessively
difficult, but that they offer the appropriate level of challenge to high school age students.
„ 21 „
Objective 0007
Understand skills and techniques of theatrical lighting and sound production.
7.
Which of the following qualities of light
can a designer control in a theatrical
production?
A.
angle, cue, depth, and frame
B.
visibility, focus, modeling, and
mood
C.
key, fill, beam, and field
D.
distribution, intensity, movement,
and color
Correct Response: D. A lighting designer supports the theatrical production by establishing via
stage lighting such aspects of the play as time and place, atmospheric conditions, mood, focal
points, and transitions. The qualities of light that can be controlled during a production are the
distribution (where and how the stage is lit), intensity (brightness to dimness of light), movement
(both change in lighting and movement caused by lighting changes), and color (most closely
associated with ambiance or mood). Changes in these lighting qualities are achieved by
manipulating dimmers and switches through programming and operation of the lighting
control board.
„ 22 „
Objective 0008
Understand methods of creating props and designing sets.
8.
In creating an interior set design for a
period play, a scenic designer should
begin by:
A.
drafting a three-dimensional model
of the set.
B.
modernizing period designs for a
contemporary audience.
C.
conducting historical research of
home furnishings from the period.
D.
selecting two to three of the period's
aesthetic traits to emphasize.
Correct Response: C. Period plays must be, by definition, true to their historic time period.
All of the individuals involved in this type of theatrical production—from actors to designers to
production staff—strive to provide the audience with historically accurate visual cues. As a first
step, a scenic designer must conduct thorough research of the time period, paying particular
attention to furniture, room design, and decoration—elements that vary tremendously between
periods and geographic locales. Such research is critical to achieving the historical unity
essential for a successful period play production.
„ 23 „
Objective 0009
Understand methods of costume design and makeup application.
9.
When deciding on the colors to be used in
a makeup design, which of the following
technical questions should be asked first?
A.
How will the physical requirements
of the actors alter the appearance of
the makeup?
B.
Which colors will best complement
the costumes?
C.
How will the lighting design and
theatre space alter the appearance
of the makeup?
D.
Which colors will best provide an
effective balance to the set design?
Correct Response: C. Stage lighting and theatre space affect the way skin tones appear. For
example, bright, white lighting in a neutral space will tend to wash out the skin tone color. This
necessitates the use of deeper makeup tones with greater contrast between highlights and
shadows to maintain tones that appear natural. Because basic makeup design must be altered
to compensate for the effects of individual lighting designs and stage spaces, these are the first
factors a makeup designer should consider in designing stage makeup for a theatrical
production.
„ 24 „
Objective 0010
Understand how to develop an overall technical environment for theatrical
productions.
10.
Which of the following statements best
describes the way in which lighting,
costumes, makeup, sound, props, and
scenery interrelate in a unified theatrical
production?
A.
All of the elements are conceived by
a single master designer.
B.
Each element is dependent on
the other elements to achieve
its individual effect.
C.
All of the elements combine to
support a single production concept.
D.
Each element combines with the
others to create a continuously
evolving production concept.
Correct Response: C. The production concept is the central creative idea that unites the work
of director and designers. Developed during early production meetings and finalized by the
director, the production concept serves as a guidepost for all elements of the artistic process,
resulting in a unified production in which each designer's work supports the work of the others.
„ 25 „
Objective 0011
Understand the history of theatre in cultures throughout the world.
11.
Which of the following best describes the
traditional Japanese theatrical form known
as Kabuki?
A.
a vehicle for social analysis and
political expression
B.
a rich blend of music, dance, and
acting
C.
a refined theatre of the Japanese
aristocracy
D.
an amusing collection of comedic
vignettes without an overall plot
Correct Response: B. For nearly 400 years, Kabuki theatre has been a popular form of
entertainment in Japan. An eclectic theatre incorporating several traditions of Japanese drama,
Kabuki evolved into a unique theatrical form in which performers clothed in stylized costumes
danced, sang, and acted in historical and domestic dramas. So interwoven are the different
performance arts within Kabuki that in modern Japanese the word is written with three
characters: ka, bu, and ki, which refer to "song," "dance," and the "skill" of the actors.
„ 26 „
Objective 0012
Understand lifelong participation in the theatre.
12.
The primary purpose of community
theatre is to:
A.
provide a venue for people who
enjoy participating in theatre as a
hobby.
B.
produce plays in towns and small
cities that lack professional theatres.
C.
provide a training ground for young
people interested in careers in the
performing arts.
D.
produce educational programs to
tour local schools and libraries.
Correct Response: A. Community theatre is a nonprofessional and nonprofit form of
theatre organized and operated by people in their own community for their own enjoyment
and enrichment. Community theatre draws on the talents, resources, and interests of local
individuals working together to provide a venue for people who enjoy theatre and want to
participate in theatrical productions as a hobby.
„ 27 „
Objective 0013
Understand the role of theatre in daily life.
13.
Which of the following initiatives would
be most likely to bring the theatre
experience to individuals from diverse
backgrounds?
A.
starting a two-for-one program at
local theatres
B.
increasing funding for a nationwide
program supporting the performing
arts in education
C.
simulcasting productions on the
World Wide Web
D.
funding residencies for international
theatre artists at major universities
in the United States
Correct Response: B. Public schools are one of the few institutions in the United States
regularly attended by individuals from diverse backgrounds. Thus, providing performing arts
in the public schools is an excellent way to bring the theatre experience to Americans of all
ethnicities and from every geographic region. Unfortunately, many school districts do not have
the funds to easily support such initiatives. Of the available choices, therefore, increasing
funding for a nationwide program supporting the performing arts in education would be most
likely to bring the theatre experience to individuals from diverse backgrounds.
„ 28 „
Objective 0014
Understand principles of theatre analysis and criticism.
14.
Which of the following schools of critical
thought is defined by fragmentation,
eclecticism, and playfulness?
A.
feminist theory
B.
postcolonialism
C.
reader-response theory
D.
postmodernism
Correct Response: D. Postmodernist theory is a response to a world conceived as being
disconnected from the past, alienated from the present, and lacking a vision for the future, a
world in which everything creative has already been said or done. This school of thought is
characterized by fragmentation, eclecticism and playfulness, which translate into theatrical
productions marked by greater focus on the intricacies of direction, minimalism in staging
and design, and extensive use of imagery.
„ 29 „
Objective 0015
Understand research methods for use in creating a theatrical production.
15.
When doing a formalist analysis of a
script, the analyst's main concern should
be which of the following?
A.
evaluating the play in relation to the
literary genre to which it belongs
B.
looking at historical-critical theories
that the work provokes
C.
studying the external circumstances
under which the play was written
D.
making the written text the primary
object of attention
Correct Response: D. The formalist approach is a method of analysis that focuses primarily
on the script. The formalist seeks an understanding of the play that is unencumbered by
outside sources—supporting research, background information, theatre reviews, previous
productions—and deals primarily with the text in order to gain a more pure or direct
understanding of the playwright's intent.
„ 30 „
Objective 0016
Understand the relationship of theatre to other art forms (e.g., music, dance, visual
arts) and other disciplines.
16.
Social studies content could most
effectively be incorporated into drama
curriculum by using:
A.
vocal techniques to improve
presentation skills.
B.
role-playing as a catalyst for
classroom discussion.
C.
sense memory to recall course
information.
D.
principles of script analysis to
analyze public documents.
Correct Response: B. Students studying social studies learn about important historical
developments and events of varied times and places. Role-playing can promote a deeper
understanding and appreciation for such events and developments by enabling students to
address the circumstances of others as they take on the roles of key historical players and
ordinary people caught up in the great changes that have shaped human civilizations. Roleplaying also provides an impetus for classroom debate and discussion about the forces that
have affected and continue to affect individuals and societies.
„ 31 „
„ WRITTEN ASSIGNMENT SECTION
On the following pages are:
X
Sample test directions for the written assignment section
X
A sample written assignment
X
An example of a strong response to the assignment
X
The performance characteristics and scoring scale
X
An evaluation of the strong response
On the actual test, candidates will be given a different written assignment from the one
provided as a sample in this preparation guide.
„ 32 „
„ SAMPLE TEST DIRECTIONS FOR THE
WRITTEN ASSIGNMENT
DIRECTIONS FOR THE WRITTEN ASSIGNMENT
This section of the test consists of a written assignment. You are to prepare a written response
of about 150–300 words on the assigned topic. The assignment can be found on the next page.
You should use your time to plan, write, review, and edit your response to the assignment.
Read the assignment carefully before you begin to write. Think about how you will organize
your response. You may use any blank space provided on the following pages to make notes,
write an outline, or otherwise prepare your response. However, your score will be based solely
on the response you write on the lined pages of your answer document.
Your response will be evaluated on the basis of the following criteria.
•
PURPOSE: Fulfill the charge of the assignment.
•
APPLICATION OF CONTENT: Accurately and effectively apply the relevant
knowledge and skills.
•
SUPPORT: Support the response with appropriate examples and/or sound reasoning
reflecting an understanding of the relevant knowledge and skills.
Your response will be evaluated on the criteria above, not on writing ability. However, your
response must be communicated clearly enough to permit valid judgment of your knowledge
and skills. The final version of your response should conform to the conventions of edited
American English. This should be your original work, written in your own words, and not
copied or paraphrased from some other work.
Be sure to write about the assigned topic. Please write legibly. You may not use any reference
materials during the test. Remember to review what you have written and make any changes
that you think will improve your response.
„ 33 „
„ SAMPLE WRITTEN ASSIGNMENT
WRITTEN ASSIGNMENT
Use the information below to complete the exercise that follows.
A play is being directed in your community. It is a tragedy that takes place in a small town in the United
States during the 1930s and examines the weakness in human nature.
Directorial concept: The director wishes to show how, over time, a hostile environment can crush
individuals' sense of humanity.
Using your knowledge of theatrical design, prepare a response in which you:
•
select one of the theatrical elements of costume, lighting, or set to design for this theatrical
production;
•
based on your selection, describe what you would use to best support the directorial concept;
•
describe how you would use specific theatrical tools and materials to best implement your design
concept; and
•
explain how your design choices would support the directorial concept.
„ 34 „
„ STRONG RESPONSE TO THE SAMPLE
WRITTEN ASSIGNMENT
I would use costuming to support the directorial concept: to show how,
over time, a hostile environment can crush individuals' sense of humanity.
This visual element would represent each individual character. Initially,
the costumes would reflect pride and cleanliness; then gradually they
would become more frayed, unpatched, "ratty," and decayed as the
individual characters are affected. The removal of clothing - loss of a
jacket, untucked shirts, ripped clothes, and the like - would suggest the
degree to which the human struggle is being lost or won by each
individual.
An example would be a butcher who wears a very clean, starched white
apron. Initially, when there is a hint of blood on the apron, the butcher
washes it out. However, as time goes on, the butcher's outfit would show
more blood and signs of animal entrails, indicating that he is no longer
making an attempt to wash out the stains. In addition, stress points on
the butcher's costume (knees, elbows) could be roughed up with sandpaper
to simulate a worn-out look. These effects would require the use of
multiple versions of costumes or parts of costumes to reflect the
butcher's gradual deterioration of self-worth (e.g., four butcher aprons one that is clean, one with the hint of blood, and two with progressively
more blood and signs of animal entrails).
The colors of the costumes would become stained, tainted, or faded.
Changing from light green to gray costumes (e.g., shirts and simple
dresses made from natural fibers and dyed with union dyes to obtain
lighter, less saturated or faded-looking colors) would show the deadening
of the psychological interior of each character as a result of the
environment. Bright yellows could be stained dramatically with splotches,
using fiber-reactive dyes, or just fade into gray, depending on the
dramatic importance of the change in that individual character.
„ 35 „
„ PERFORMANCE CHARACTERISTICS AND
SCORING SCALE
Performance Characteristics
The following characteristics guide the scoring of responses to the written assignment.
Purpose:
Fulfill the charge of the assignment.
Application of Content:
Accurately and effectively apply the relevant knowledge and skills.
Support:
Support the response with appropriate examples and/or sound reasoning
reflecting an understanding of the relevant knowledge and skills.
Scoring Scale
Scores will be assigned to each response to the written assignment according to the following
scoring scale.
Score
Point
Score Point Description
The "4" response reflects a thorough command of the relevant knowledge and skills.
4
• The response completely fulfills the purpose of the assignment by responding fully to the given task.
• The response demonstrates an accurate and highly effective application of the relevant knowledge and
skills.
• The response provides strong support with high-quality, relevant examples and/or sound reasoning.
The "3" response reflects a general command of the relevant knowledge and skills.
3
• The response generally fulfills the purpose of the assignment by responding to the given task.
• The response demonstrates a generally accurate and effective application of the relevant knowledge and
skills.
• The response provides support with some relevant examples and/or generally sound reasoning.
The "2" response reflects a partial command of the relevant knowledge and skills.
2
• The response partially fulfills the purpose of the assignment by responding in a limited way to the given
task.
• The response demonstrates a limited, partially accurate and partially effective application of the relevant
knowledge and skills.
• The response provides limited support with few examples and/or some flawed reasoning.
The "1" response reflects little or no command of the relevant knowledge and skills.
1
• The response fails to fulfill the purpose of the assignment.
• The response demonstrates a largely inaccurate and/or ineffective application of the relevant knowledge
and skills.
• The response provides little or no support with few, if any, examples and/or seriously flawed reasoning.
„ 36 „
„ EVALUATION OF THE STRONG RESPONSE
This response is considered a strong response because it reflects a thorough command of
relevant knowledge and skills.
Purpose. The response completely fulfills the purpose of the assignment by responding fully to
the given task.
The response selects the theatrical element of costuming and describes the design choices
(e.g., the change from clean, well-kept garments to frayed, dirty, and more unkempt attire to
reflect the crushing of individuals' sense of humanity) and tools and materials (e.g., a clean,
starched white apron; dyes) that would be used to support the directorial concept.
Application of Content. The response demonstrates an accurate and highly effective
application of the relevant knowledge and skills.
The response demonstrates knowledge of the theatrical effects of costuming on:
•
•
characterization (e.g., those who are experiencing the loss of humanity wearing clothing that
deteriorates over time); and
tone and mood (e.g., frayed, unpatched clothing reflecting an individual's deterioration).
The response also displays knowledge of how to use the following in creating effective
costumes:
•
•
tools and materials (e.g., multiple versions of the same costume, sandpaper, union and fiberreactive dyes)
color (e.g., incorporating splotches, fading of bright colors)
Support. The response provides strong support with high-quality, relevant examples and/or
sound reasoning.
The response effectively describes how the following can be used in making costuming choices
that communicate the human condition through outward appearance:
•
•
•
color
clothing details
changes in the condition of clothing
For example, each individual's costume gradually becoming more deteriorated and decayed
and/or changing color as the individual is affected by the hostile environment. Another
example is the butcher's apron becoming more stained and soiled to reflect the butcher's
declining self-worth.
„ 37 „