Theater Final

Front 1

The part of the stage which is closest to the audience is

Back 1

downstage

Front 2

Constantin Stanislavski was connected with the Moscow Art Theatre and was responsible for

Back 2

setting down a series of guidelines for actors-in-training

Front 3

Blocking is

Back 3

the choreographed movements of an actor on stage

Front 4

Prescriptive criticism is a type of criticism which is

Back 4

criticism which offers suggestions for the betterment of a production

Front 5

A fresnel is a/an

Back 5

theatrical lighting instrument

Front 6

What is the first thing that any designer must do when he or she is assigned to a production of a play

Back 6

read the script

Front 7

An example of a structural conventions that a playwright needs to take into account might be

Back 7

a limitation of space, being limited by the confines of a stage

Front 8

Every actor must wear a certain amount of make-up when under theatrical lights. The process begins with foundation and highlighting of the eyes.

Back 8

True

Front 9

The audiences of the Greek Theatre sat on a hill surrounding a raised acting space. The audiences sat on three sides of the acting space which was the original thrust stage.

Back 9

true

Front 10

Theatre was changed in 1879 because

Back 10

the incandescent light bulb was invented

Front 11

A dimmer board allows for the technical staff to

Back 11

raise and lower the brightness of the lamps at any speed desired

Front 12

The responsibilities for ‘running a play’ and keeping track of the actors in performance, after the show has opened falls to

Back 12

stage managers

Front 13

Which of the following is true of the art of theatre?

Back 13

theatre is a collaborative art combining the arts of acting, writing, designing and directing

Front 14

Theatre in the round creates the most intimate and personal audience environment

Back 14

true

Front 15

A cold reading is

Back 15

an audition in which the actor reads from an unfamiliar script

Front 16

Time period in a play refers to

Back 16

the time period in which the play was set

Front 17

Stanislavski suggested that actors should

Back 17

should observe the world around them in order to see different types of human beings, using these people as future role models

Front 18

In a tech rehearsal

Back 18

all aspects of technical production are brought in to the production for the first time

Front 19

Set designs can be presented to a director in two forms
1, a small, made-to-scale replica
2, drawings. Also included would be a floor plan to show where the set pieces go on the acting space.

Back 19

True

Front 20

The audience of a proscenium theatre can be found throughout the theatre facility and will often need to move in their seats for better view of the actors

Back 20

true

Front 21

A gel is

Back 21

a plastic material that gives subtle shading of color to theatrical lights

Front 22

One of the most important differences between actors who are proficient at comedic acting and those who are proficient at tragic acting is

Back 22

tragic actors are portraying extra ordinary beings, not ones with normal human emotions

Front 23

A child first learns communication skills through

Back 23

imitation

Front 24

In the audition process an actor

Back 24

may be called upon to create a character with personal and social roles apart from his own.

Front 25

Which of the following would make a workable interior box setting for a play

Back 25

classroom on the university of new Hampshire campus

Front 26

The events which lead a reader from the initial conflict to the climax of a situation in literature are called

Back 26

the events of the rising action

Front 27

The structure which gives us events in a play which center around and relate back to one internal conflict would be

Back 27

episodic

Front 28

In the vast number of theatrical productions, the director would

Back 28

keep in constant contact with all theatre artists who are contributing to the productions

Front 29

We tend not to speak of twentieth century tragedies because

Back 29

we speak of dramas instead, in which the tragic events happen to normal realistic characters

Front 30

Costumes are often made of acrylic or polyester fabrics (as opposed to natural fabrics) so that the costumes are easily washable

Back 30

false

Front 31

The wings of theatre can be found

Back 31

to the left and the right if the acting space

Front 32

The fly space of a theatre is found

Back 32

above the acting area and the proscenium arch

Front 33

The spine of a play is defined as the look and feel of the production from the audience’s point of view.

Back 33

True or false

Front 34

The term improvision means theatre without script

Back 34

true

Front 35

Comic timing refers to the order in which performers appear during an evening’s performance.

Back 35

false

Front 36

Chekov was a famous Russian director who wrote extensively on the art of directing

Back 36

true or false

Front 37

A symbol is a title for an actor who is widely known for being cast in a very specific type of role

Back 37

false

Front 38

A critic according to our professor, should have some basic training in both theatre artistry and literature

Back 38

true

Front 39

Costumes, lights, and sets both share the qualitiy of form, in other words they all present a shape or silhouette that the designer selects to use in the design

Back 39

true

Front 40

The cost of producing a musical play is based on a flat royalty given to the author of the script or book of a musical

Back 40

true or false

Front 41

Societal roles are roles which we take on in real life in which we are virtually living up to an image or impression of what society sees us to be

Back 41

true or false

Front 42

One of the first rules of acting, in face Marschner’s first rule of acting, is that an actor must be heard by the audience in order to properly do his/her job

Back 42

true

Front 43

Breath control and proper methods of breathing are essential to the training of an actor

Back 43

true

Front 44

A backdrop can be painted in prospective to show almost any scene that is called for by the script and is found farthest upstage of the acting space

Back 44

true

Front 45

There are almost always articles in an actor’s costume which the actor provides him/herself ie shows and undergarments and accessories

Back 45

true

Front 46

Marschner’s first rule of costuming is that all materials in a costume must be of the highest quality and true to the fabrics that the character would chose

Back 46

false

Front 47

Marschner’s first rule of lights is that any effect can be created by good use of lighting

Back 47

true

Front 48

Costumes can be rented, made from scratch, taken from a theatre’s costume collection or from the actors closet

Back 48

true

Front 49

A proscenium arch frames the acting stage of a theatre that is built in the round

Back 49

true

Front 50

Stage directions- C-

Back 50

blocking and interpretive directions given by the playwright

Front 51

Royalties- E –

Back 51

a fee given to a playwright that permits the use of his/her script

Front 52

Falling action- B-

Back 52

the events of a plot that happen after the climax of the plot

Front 53

Purpose-D-

Back 53

the playwrights intent

Front 54

Upstage-A-

Back 54

part of the stage farthest from the audience

Front 55

To Fly-E-

Back 55

a verb meaning to raise and lower things onto the acting space

Front 56

Superobjective- D-

Back 56

the ultimate goal of a character that is found in the lines and actions of a script

Front 57

Spine- B

Back 57

The motivation within a script the basic force behind the story

Front 58

Symbol-A-

Back 58

something that stands for or represents something else

Front 59

Inner truth-C-

Back 59

the true feelings and emotions of a character

Front 60

Resolution-C-

Back 60

The portion of the script in which we discover the outcome of the conflicts

Front 61

Plot-E-

Back 61

The events of the story in a play

Front 62

Cue-B-

Back 62

any sign or symbol that the next line or event is going to happen

Front 63

Emotional Recall-A-

Back 63

traveling back through actor’s memory to bring out a certain emotion

Front 64

Call backs-D-

Back 64

a second, exclusive audition

Front 65

The order of steps that occur during the play creation process:

Back 65

Selecting the director and finding the funds for the production
Casting the show
Blocking
Fine tuning and putting down of the scripts
Tech Rehearsal

Front 66

If there are any problems during the “run” of a show while it is in production it is up to the

Back 66

director

Front 67

A director forms a director’s concept which narrowly defines only what the actors are going to do while on stage

Back 67

false

Front 68

In most cases the producers of a play are responsible for finding the financing for a production

Back 68

true

Front 69

Most activities in the theatrical world are collaborative with all artists working together with the exception of the

Back 69

playwright

Front 70

Seasonal and semi-professional theatres often cast and hire artists for an entire season rather than on a show by show basis

Back 70

true