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18. Sentimental
drama
revolted
against
the
amoral
attitude
of
the
Restoration
drama.
19. During
the
18th
century
the
middle
class
calls
for
more
clear-cut
moral
standards
in
drama
and
theatre.
20. By
the
18th
century
most
of
Europe
adheres
to
the
neoclassical
rules
in
dramatic
works.
21. The
18th
century
is
known
mostly
for
Sentimental
Drama
in
Theatre.
22. In
Germany,
as
the
century
progress,
many
playwrights
rebel
against
the
neoclassical
rules.
23. Sturm
and
Drang
was
a
movement,
known
as
Storm
and
Stress
that
reinforced
the
ideas
behind
neoclassicism
in
theatre.
24. The
19th
century
saw
the
development
of
the
factory
system,
industrial
revolution
and
urbanization.
25. In
the
19th
century
theatre
was
at
its
most
popular
heights
because
the
upper
class
audiences
began
to
attend
the
theatre.
26. Melodrama
removed
the
element
of
music
to
add
more
suspense
to
the
action.
27. Melodrama
was
escapist
drama
and
was
embraced
by
the
lower
class
audiences.
28. In
Melodrama
there
is
strict
moral
judgment
and
the
punishment
fits
the
crime.
29. Romanticism
was
greatly
influenced
by
the
German
Storm
and
Stress
movement.
30. In
Romanticism
the
hero
is
most
often
a
social
outcast
who
questions
justice,
pursues
knowledge
and
truth.
31. In
the
19th
century
the
large
theatre
buildings
were
torn
down
and
replaced
with
smaller
theatres
because
the
audience
lost
interest
in
the
theatre
as
a
form
of
entertainment.
32. Realism
is
a
style
of
theatre
that
emphasizes
details
of
contemporary
life
and
accuracy
in
the
details
of
the
stage
setting
and
dress.
33. Ibsen
and
Chekov
are
considered
the
fathers
of
modern
drama.
34. Ibsen
was
born
in
Norway
and
wrote
A
Dolls
House,
Ghosts,
and
Hedda
Gabler.
35. Chekov
wrote
Uncle
Vanya,
The
Three
Sisters,
and
The
Seagull.
36. Stanislavski
founded
a
new
system
of
acting,
which
lent
itself
to
the
new
anti-
realistic
theatre
movements.
37. Konstantin
Stanislavski
established
the
Moscow
Art
Theatre;
and
was
inspired
by
the
work
of
Anton
Chekov
and
his
plays.
43. Between
the
start
of
WWI
to
the
end
of
WW
II
drastic
changes
lead
to
instability
in
the
world
and
during
this
time
theatre
attempts
to
mirror
the
madness
with
many
new
forms
of
theatre.
44. Theatre
of
unrest
includes
such
movements
as:
Expressionism,
Futurism,
Dadaism,
and
Surrealism.
47. Bertolt
Brecht
was
a
realistic
director
who
saw
the
great
potential
in
the
forth
wall
concept.
48. Historification,
alienation,
and
use
of
a
gestus
were
all
aspects
of
Brechts
epic
theatre.
49. A
political
message
that
re-states
the
ideas
in
capitalism
are
at
the
center
of
Brechts
work.
50. Many
realists
were
inspired
by
Asian
theatre
convention
and
practices.
51. The
ideas
behind
Existentialism
inspire
Theatre
of
the
Absurd.
52. Symbolism
explored
through
images
and
metaphors
the
inner
realities
which
cannot
be
directly
or
literally
perceived.
53. A
Director
should
have
a
clear
understanding
of
genres,
styles
and
theatrical
conventions
in
order
to
make
educated
choices
for
a
production.
54. The
theatrical
conventions
of
the
past
have
very
little
influence
on
current
modern
theatre.
MULTIPL
CHOICE:
55. Which
of
the
following
was
a
principal
female
actress
during
the
Restoration:
a. Eleanor
Nell
Gwynn
b. Catherine
de
Medici
c. Aphra
Behn
d. Marie
Dumesnil
e. All
of
the
above
are
56. Which
of
the
following
is
not
a
point
about
Moliere:
a. Influenced
by
Commedia
del
Arte
b. Wrote
Tartuffe
and
The
Miser
c. A
loyal
member
of
the
French
Academy
and
spokesmen
for
the
rules
of
Neo-classicism.
d. Was
an
actor
and
considered
one
of
the
best
in
comedy
for
his
day
e. All
of
these
are
points
about
Moliere
57. Which
of
the
following
is
not
a
point
of
Neoclassicism:
a. Decorum
b. Verisimilitude
c. Unities
of
time,
action,
place
d. Mixture
of
comic
and
serious
e. All
of
these
are
points
58. The
primary
audience
base
of
Restoration
Comedy
was:
a. Lower
class
b. Middle
class
c. Upper
class
d. All
of
these
e. None
of
these
59. Which
of
these
was
not
a
feature
of
Restoration
Comedy:
a. Wit
and
clever
dialogue
b. Characters
who
have
names
that
sum
them
up
c. High
religious
tone
and
moral
attitudes
d. Manners
of
the
day
and
lifestyles
of
the
upper
class
e. All
of
these
were
features
of
Restoration
Comedy
60. Which
of
the
following
is
not
associated
with
the
Restoration
period:
a. Moral
and
sentimental
drama
b. Comedies
of
manners
c. Women
on
the
stage
d. Restoration
tragedy
e. All
of
these
are
associated
61. Which
of
the
following
is
not
associated
with
the
German
Storm
and
Stress
movement:
a. Rejection
of
dramatic
rules
and
uniformity
in
playwriting
b. Patterned
after
Shakespeare
c. Episodic
Structure
d. Re-emphasis
of
Neo-classicism
and
uniformity
in
playwriting
e. All
of
the
above
are
associated
62. Which
of
the
following
is
not
a
feature
of
melodrama:
a. Strict
moral
justice
b. Suspense
and
extreme
reversals
c. Very
little
music
d. Characters
that
are
stock
and
dont
change
e. All
are
features
of
melodrama
63. Which
of
the
following
is
not
part
of
the
19th
century
physical
theatre:
a. Box
set
b. Gas
and
electric
lights
c. 4th
wall
concepts
d. Individual
seating
e. All
are
parts
of
the
19th
century
theatre
64. Which
of
the
following
is
not
part
of
the
Realistic
movement:
a. Darwin
and
Freud
b. Environment
and
heredity
c. Scientific
approach
d. Bertolt
Brecht
e. All
are
parts
66. Which
of
the
following
is
not
associated
with
a
revolt
against
Realism:
a. Surrealism
b. Symbolism
c. Expressionism
d. Stanislavsky
e. All
of
the
above
revolted
against
realism
67. Which
of
the
following
is
not
associated
with
the
beginnings
of
modern
theatre:
a. Henrik
Ibsen
b. Anton
Chekhov
c. The
Proscenium
Arch
and
Perspective
Scenery
d. Naturalism
e. All
of
the
above
are
associated
68. This
playwright,
born
in
Germany
in
1898,
emerged
from
World
War
I
as
a
dedicated
Marxist
and
reflected
these
beliefs
in
his
plays.
a. Antonin
Artaud
b. Bertolt
Brecht
c. Meyerhold
d. Arthur
Miller
e. William
Shakespeare
69. Modern
theatre
a. Conserved
both
realistic
and
non-realistic
strains.
b. Preserved
primarily
realistic
strains
c. Preserved
non-realistic
strains
d. Divorced
entirely
from
realistic
and
non-realistic
strains
e. None
of
the
above
70. What
does
a
director
NOT
seek
in
the
designer-director
collaboration?
a. Personal
compatibility
b. A
synchrony
of
artistic
and
intellectual
vision
c. Mutual
respect
d. Stage
business
of
the
actors
e. Cohesion
in
stage
spectacle
71. Which
aspects
of
rehearsal-during
which
scenery,
lighting,
and
sound
are
added-occurs
near
the
end
of
the
rehearsal
process
as
the
play
comes
closer
to
production
time:
a. Audition
b. Technical
rehearsal
c. Dress
rehearsal
d. Blocking
e. The
running
72. The
timing
and
placement
of
a
characters
entrances,
exits,
crosses,
embraces,
and
other
major
movements
is
called:
a. Blocking
b. Business
c. Technical
supervision
d. Directing
e. Designing
73. Which
of
the
following
tasks
belong
to
the
director:
a. Arranging
the
financial
backing
to
perform
the
play
b. Arranging
for
the
scenery
and
props
c. Hiring
the
producer
d. Conceptualizing
the
play
and
giving
it
vision
and
purpose
e. Managing
the
crew
and
technical
staff
74. Which
person
is
responsible
for
the
building
and
operation
of
stage
machinery
and
scenery,
has
charge
of
lighting
crews
and
industrial
scheduling:
a. Technical
director
b. Dramaturge
c. Producer
d. Director
e. Stage
manager
75. This
person
is
the
right
arm
of
the
director,
attends
all
rehearsals,
responsible
for
documenting
stage
blocking,
and
important
information.
This
person
also
calls
the
show
during
technical,
dress
rehearsals
and
performances.
a. Technical
director
b. Dramaturge
c. Producer
d. Director
e. Stage
manager
MATCHING
SECTION:
Match
the
terms
at
the
top
of
this
section
with
the
proper
terminology
below:
a.
Theme
b.
Style
c.
Action
d.
Inciting
incident
e.
Exposition
76. In
dramatic
structure,
the
action,
that
initiates
the
major
conflict
of
the
play.
77.
The
distinctive
behaviors,
dress,
and
language
of
the
characters.
The
choices
made
in
the
world
of
the
play:
the
characters,
time
periods,
setting,
and
language.
78. What
the
play
means.
The
abstract
issues
that
grow
out
of
the
drama.
79. The
events
of
the
play
and
the
story
line
unfolded.
80. The
important
information
the
audience
needs
to
know
in
order
to
follow
the
main
story
line.
MATCHING
SECTION:
Match
the
time
period
at
the
top
of
this
section
with
the
proper
theatre
description
below:
a.
Greek
b.
Roman
c.
Medieval
d.
Renaissance
e.
Restoration
81. A
period
where
spectacle
and
popular
entertainments
in
the
form
of
games
were
at
their
height.
82. Where
western
drama
is
said
to
have
been
inspired.
83. A
time
period
when
the
emphasis
was
on
religious
drama.
84. The
comedy
of
manners
was
the
style
of
the
day.
85. The
picture
frame
stage
got
its
start.
MATCHING
SECTION:
DESIGNERS:
Match
the
theatre
collaborator
at
the
top
of
this
section
with
the
proper
job
description
below:
a.
Costumer
b.
Lighting
c.
Sound
d.
Make-up
e.
Set
86.
The
person
in
theatre
responsible
for
scenic
elements
and
properties.
Provides
a
finished
model
and/or
finished
elevation
and
scale
ground
plan.
87.The
person,
in
theatre
responsible
for
supplying
needed
costumes
and
accessories
for
productions.
This
person
measures
actors,
provides
finished
renderings,
purchase
needed
fabrics,
builds
costumes
and
pulls
from
stock
as
needed.
88.
This
person
designs
stage
lighting,
provides
light
plot,
hangs
instruments
and
sets
down
all
lighting
cues.
89.
This
person
is
responsible
for
providing
a
complete
technical
sound
design,
maintains
equipment,
provides
microphones
as
needed
and
supervises
board
operators.
90.
This
person
designs
theatrical
make-up
for
production
characters,
provides
renderings
and
works
with
actors
on
detailed
application
processes.
MATCHING
SECTION:
Match
the
terms
at
the
top
of
this
section
with
the
proper
terminology
below:
a.
Ground
Plan
b.
Elevation
c.
Light
Plot
d.
Rendering
e.
Prompt
Book
91.
A
front
view
drawing
generated
by
the
set
designer.
92.
A
map
of
the
stage
floor
that
is
drawn
to
exact
scale,
giving
the
birds
eye
view
of
the
intended
set
design
configurations.
93.
A
master
copy
of
the
script
in
which
all
blocking,
cues
and
important
production
information
is
kept.
94.
A
master
plan
showing
the
placements
of
lighting
instruments
and
circuit
coordinates.
95.
A
sketch
or
drawing
of
intended
design.
MATCHING
SECTION:
Match
the
theatrical
style
at
the
top
of
this
section
with
the
proper
description
of
mode
below:
a.
expressionism
b.
naturalism
c.
symbolist
d.
dadaism
e.
absurdism
96.
Dramatic
action
seen
through
the
eyes
of
the
protagonist.
Dramatize
subjective
states
through
distortion,
striking
and
often
grotesque
images,
lyric
unrealistic
dialogue,
and
the
representation
of
reality
is
distorted
to
communicate
inner
feelings.
97.
Movement
in
art
between
the
world
wars.
Based
on
presenting
the
irrational
and
attacking
traditional
artistic
values.
Art
should
mirror
the
madness
of
the
world.
98.
Futility
of
existence.
Rational
language
is
debased
and
replaced
by
clichs
and
trite
or
irrelevant
remarks.
Repetitious
or
meaningless
activity
is
substituted
for
logical
actions.
99.Sought
to
replace
realistic
representation
of
life
with
the
expression
of
an
inner
truth.
Use
of
myth,
legend,
and
symbols
in
an
attempt
to
reach
beyond
reality.
100.
An
extreme
form
of
realism
that
attempts
to
show
a
slice
of
life.