Download Mid term review quiz

Mid term review quiz
DR2014 2015
RULES
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Suggested rules:
Question given to all teams—one minute to confer—
Answer written down on a sheetAll 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?
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
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, modèle idéal 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.
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• Bonus question: When was Paradox of Acting written:
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
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
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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
• 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
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
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
Performers and actors
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In the Nātyashāstra rasa 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:
TRANSLATIONS
• Which of the following characters appear in Brian
Friel's Translations:
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a. Barney Petey
b. Donnelly Twins
c. Nellie Rua
d. all of the above
e. none of the above
• Barney Petey
• b. Donnelly Twins
• c. Nellie Rua
• Bonus points: who are each of the above
• Bonus questions:
• When was Translations first performed:
Performance Studies
• Name 3 areas in which you can 'perform‘ as
described by Richard Schnecher?
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• 2. Which of these is NOT given as criteria for
determining theatre period?
• a) Monarchies
• b) Political empires
• c) Language
• d) Famous persons
• What happened to Yolland? (points for most
convincing answer—and most outrageous
answer)
Performance studies
• 2. Where do performances take place?
A. In action
B. In interaction
C. In relation
D. All of the above
• 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)
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
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
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.
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.
• What is the primary influence of Cultural
Materialism?
a. Marxist Philosophy
b. Behaviourism Philosophy
c. Materialism in different cultures
d. Dualism Philosophy
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• 3. What is a director’s copy?
A. A list of stage directions
B. The script
C. list of contact information for the director
D. Directors text of the play containing notes
on blocking, lighting, sound etc.
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.
Performance Studies
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• 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.
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Performance analysis
• 2. How can a performance be analysed?
A. Text/script
B. Interviews with cast and audience members
C. Video recordings.
D. All of the above.
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
Performance studies
• In ‘make belief’ performances
a. Audience must follow all instructions of the
actors
b. Actors must improvise continually
c. Everyday performances create the very
social reality they enact
d. Company members dreams become the
basis for a production
Gestures
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• 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
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
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
• Name 3 visual theatrical sign systems? (after
Kowzan 1968)
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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
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
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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?
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