The Theater Experience 14Th Edition By Edwin Wilson – Test Bank

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Description The Theater Experience 14Th Edition By Edwin Wilson – Test Bank Sample Questions Instant Download With Answers The Theatre Experience, 14e (Wilson) Chapter 3 Theatre Spaces: The Audience Views the Stage 1) A “fourth wall theatre” describes a(n) 1.

2.

3.

4.

A) proscenium stage.

B) thrust stage.

C) arena stage.

D) created, or found, space.

Answer: A Bloom’s: Remember Accessibility: Keyboard Navigation LO: Identify the different ways of naming the proscenium space

2) Which of the following provides the most intimate performance space?

1.

2.

3.

4.

A) Created, or found, space B) Proscenium stage C) Arena stage D) Multifocus theatre

Answer: C Bloom’s: Remember Accessibility: Keyboard Navigation

LO: Identify the advantages and limitations of the arena space

3) The type of performance space associated with street theatre is the 1.

2.

3.

4.

A) arena stage.

B) proscenium stage.

C) thrust stage.

D) created, or found, space.

Answer: D Bloom’s: Remember Accessibility: Keyboard Navigation LO: Illustrate the characteristics of created or found space as described by Artaud

4) Which type of performance space utilizes the greatest amount of scenery and stage machinery?

1.

2.

3.

4.

A) Proscenium stage B) Created, or found, space C) Multifocus theatre D) Thrust stage

Answer: A Bloom’s: Remember Accessibility: Keyboard Navigation LO: Discuss the elements found in a proscenium space 5) Developed by the Greeks, the ________ was also the type of theatre space used during Shakespeare’s time.

1.

2.

A) proscenium stage B) thrust stage

3.

4.

C) arena stage D) multifocus theatre

Answer: B Bloom’s: Remember Accessibility: Keyboard Navigation LO: Describe the evolution of the thrust stage used in England and Spain

6) Elaborate scenery on/in a(n) ________ is impossible because it would block the view of other audience members.

1.

2.

3.

4.

A) thrust stage B) proscenium stage C) arena stage D) multifocus theatre

Answer: C Bloom’s: Remember Accessibility: Keyboard Navigation LO: Identify the advantages and limitations of the arena space

7) Which type of performance space was originally built into hillsides in Greece?

1.

2.

3.

4.

A) Created, or found, space B) Thrust stage C) Arena stage D) Proscenium stage

Answer: B Bloom’s: Remember Accessibility: Keyboard Navigation LO: Identify the configuration of the audience in the thrust space

8) Which type of performance space in the medieval period was called a platform stage or trestle stage?

1.

A) Created, or found, space 2.

B) Thrust stage 3.

C) Multifocus theatre 4.

D) Arena stage

Answer: B Bloom’s: Remember Accessibility: Keyboard Navigation LO: Exemplify the characteristics of a wagon stage 9) Most Broadway performance spaces were built with the ________ configuration.

1.

2.

3.

4.

A) proscenium stage B) thrust stage C) arena stage D) multifocus theatre

Answer: A Bloom’s: Remember Accessibility: Keyboard Navigation LO: Recall the most familiar type of theatre space

10) The ________ is of special interest to experimental or avant-garde practitioners.

1.

2.

3.

4.

A) proscenium stage B) multifocus theatre C) thrust stage D) created, or found, space

Answer: D Bloom’s: Remember Accessibility: Keyboard Navigation LO: Illustrate the characteristics of created or found space as described by Artaud

11) Which type of performance space requires spectators to take in and synthesize several impressions at once?

1.

2.

3.

4.

A) Thrust stage B) Proscenium stage C) Multifocus theatre D) Arena stage

Answer: C Bloom’s: Remember Accessibility: Keyboard Navigation LO: Illustrate the characteristics of created or found space as described by Artaud

12) In which of the following performance spaces do all the seats face in one direction?

1.

2.

3.

4.

A) Proscenium stage B) Multifocus theatre C) Created, or found, space D) Arena stage

Answer: A Bloom’s: Remember Accessibility: Keyboard Navigation LO: Describe the elements found in a proscenium space 13) Which of the following uses unusual structures with their original architectural elements intact, carving out special areas for acting and viewing?

1.

2.

3.

4.

A) Arena stage B) Proscenium stage C) Thrust stage D) Created, or found, space

Answer: D Bloom’s: Remember

Accessibility: Keyboard Navigation LO: Describe the relationship between the audience and the performance in order to understand the key characteristic of created and found spaces

14) In which type of performance space do audiences sit on three sides?

1.

2.

3.

4.

A) Proscenium stage B) Thrust stage C) Multifocus theatre D) Arena stage

Answer: B Bloom’s: Remember Accessibility: Keyboard Navigation LO: Identify the configuration of the audience in the thrust space

15) Which type of configuration is best suited for the large and elaborate spectacle associated with contemporary musical theatre productions?

1.

2.

3.

4.

A) Proscenium stage B) Arena stage C) Multifocus theatre D) Created, or found, space

Answer: A Bloom’s: Remember Accessibility: Keyboard Navigation LO: Summarize the advantages of the proscenium stage 16) A typical Elizabethan playhouse was which type of performance space?

1.

2.

3.

4.

A) Proscenium stage B) Thrust stage C) Arena stage D) Created, or found, space

Answer: B Bloom’s: Remember Accessibility: Keyboard Navigation LO: Describe the evolution of the thrust stage used in England and Spain 17) One particularly effective performance space for realistic settings that create the illusion of a genuine, complete room is the 1.

2.

3.

4.

A) proscenium stage.

B) arena stage.

C) thrust stage.

D) multifocus theatre.

Answer: A Bloom’s: Remember Accessibility: Keyboard Navigation LO: Summarize the advantages of the proscenium stage

18) It is difficult to balance and establish the right type of aesthetic distance in/on the ________, which places some audience members mere feet from the stage action and others quite a distance away.

1.

2.

3.

4.

A) arena stage B) thrust stage C) created, or found, space D) proscenium stage

Answer: D Bloom’s: Remember Accessibility: Keyboard Navigation LO: Summarize the advantages of the proscenium stage

19) Which stage configuration combines the intimate, wraparound feeling from the audience with the seating arrangement focused toward a single background located at the back of the stage?

1.

2.

3.

4.

A) Proscenium stage B) Thrust stage C) Arena stage D) Multifocus theatre

Answer: B Bloom’s: Remember Accessibility: Keyboard Navigation LO: Identify the configuration of the audience in the thrust space

20) Which of the following is not ordinarily used for performances?

1.

2.

3.

4.

A) Proscenium stage B) Multifocus theatre C) Thrust stage D) Created, or found, space

Answer: D Bloom’s: Remember Accessibility: Keyboard Navigation LO: Explain how nontheatre buildings are used for performance 21) In which of the following performance spaces do performers usually have to make their entrances and exits along aisles that run through the audience?

1.

2.

3.

4.

A) Arena stage B) Multifocus theatre C) Thrust stage D) Proscenium stage

Answer: A

Bloom’s: Remember Accessibility: Keyboard Navigation LO: Identify the advantages and limitations of the arena space

22) In a(n) ________, action occurs on several stages simultaneously.

1.

2.

3.

4.

A) proscenium stage B) multifocus theatre C) arena stage D) thrust stage

Answer: B Bloom’s: Remember Accessibility: Keyboard Navigation LO: Recall traits of popular performance spaces 23) In which type of space are Chinese and Japanese dramas performed?

1.

2.

3.

4.

A) Thrust stage B) Proscenium stage C) Arena stage D) Created, or found, space

Answer: A Bloom’s: Remember Accessibility: Keyboard Navigation LO: Describe the evolution of the thrust performance space

24) The standard theatre space throughout Europe beginning in the late seventeenth century, which grew in popularity in the United States in the nineteenth and early twentieth century, was the 1.

2.

A) proscenium stage.

B) thrust stage.

3.

4.

C) arena stage.

D) multifocus theatre.

Answer: A Bloom’s: Remember Accessibility: Keyboard Navigation LO: Recall the most familiar type of theatre space 25) The ________ is akin to a three-ring circus.

1.

2.

3.

4.

A) proscenium stage B) thrust stage C) multifocus theatre D) created, or found, space

Answer: B Bloom’s: Remember Accessibility: Keyboard Navigation LO: Explain how nontheatre buildings are used for performance

26) When entering a theatre space which of the following is NOT one of the things we should be aware of?

1.

2.

3.

4.

A) Whether it is a large or small space B) Whether it is indoors or outdoors C) Whether it is professional or amateur D) Whether it is familiar or unfamiliar

Answer: C Bloom’s: Remember Accessibility: Keyboard Navigation

LO: Recall that audiences should become aware of the environment created by different kinds of theatre spaces

27) What kinds of questions should we ask when evaluating the environment used for staging a production?

1.

2.

3.

4.

A) What type of stage did it have?

B) What sort of atmosphere did the space suggest?

C) Was the space appropriate for the type of play being produced?

D) All of these are good questions to ask.

Answer: D Bloom’s: Remember Accessibility: Keyboard Navigation LO: Identify key questions to ask about the environment used for theatrical staging

28) What is meant by the appropriateness of a space for a production?

1.

2.

3.

4.

A) The ownership of the facility.

B) The relationship of a stage space to the play or production.

C) The neighborhood surrounding the venue for the production.

D) The cost of tickets per audience member allowed in the space.

Answer: B Bloom’s: Remember Accessibility: Keyboard Navigation LO: Distinguish the kind of production belonging to the most appropriate performance space

Match these theatre features and types with the most appropriate descriptions.

1.

2.

3.

4.

5.

6.

7.

8.

9.

10.

A) Proscenium arch B) Black box C) Orchestra D) Rake E) Guerilla theatre F) Multimedia theatre G) Created space H) Boxes I) Corrales J) Aesthetic distance

29) A space often used by avant-garde artists Bloom’s: Remember Accessibility: Keyboard Navigation LO: List the five basic kinds of theatre spaces

30) The physical or psychological separation of an audience from the dramatic action Bloom’s: Remember Accessibility: Keyboard Navigation LO: List the five basic kinds of theatre spaces

31) A flexible theatre that can be converted into different arrangements Bloom’s: Remember Accessibility: Keyboard Navigation LO: List the five basic kinds of theatre spaces

32) Horseshoe-shaped tiers in proscenium theaters that ring the auditorium for several levels above the orchestra Bloom’s: Remember

Accessibility: Keyboard Navigation LO: List the five basic kinds of theatre spaces 33) Aggressive, politically-oriented street theatre produced to provoke the audience to become more politically involved Bloom’s: Remember Accessibility: Keyboard Navigation LO: List the five basic kinds of theatre spaces

34) Frame that separates the stage from the auditorium and forms an outline for the stage Bloom’s: Remember Accessibility: Keyboard Navigation LO: List the five basic kinds of theatre spaces

35) Thrust theatres built in the courtyard of a sixteenth-century Spanish inn Bloom’s: Remember Accessibility: Keyboard Navigation LO: List the five basic kinds of theatre spaces

36) The slant of an auditorium or stage floor Bloom’s: Remember Accessibility: Keyboard Navigation LO: List the five basic kinds of theatre spaces

37) The main floor where the audience sits in a contemporary proscenium theatre, and, in ancient Greece, the circular acting area at the base of a hillside theatre Bloom’s: Remember Accessibility: Keyboard Navigation LO: List the five basic kinds of theatre spaces

38) Use of electronic media in live theatrical presentations Bloom’s: Remember Accessibility: Keyboard Navigation LO: List the five basic kinds of theatre spaces

Answers: 29) G 30) J 31) B 32) H 33) E34) A 35) I 36) D 37) C 38) F

39) Use of the proscenium stage for elaborate scenery and scene shifts first started in the United States in the mid-twentieth century.

Answer: FALSE Bloom’s: Remember Accessibility: Keyboard Navigation LO: Characterize the work of Torelli and Bibiena for their contributions to proscenium design

40) A movie theatre is configured most like a thrust theatre.

Answer: FALSE Bloom’s: Remember Accessibility: Keyboard Navigation LO: Identify the configuration of the audience in the thrust space 41) One disadvantage of the proscenium stage is that it tends to lose the intimacy that is found in other types of theatre spaces.

Answer: TRUE Bloom’s: Remember Accessibility: Keyboard Navigation LO: Summarize the advantages of the proscenium stage

42) English theatres like the Globe, where many of Shakespeare’s plays were first performed, were constructed so that the theatre was both indoors and outdoors.

Answer: TRUE Bloom’s: Remember Accessibility: Keyboard Navigation LO: Describe the evolution of the thrust stage used in England and Spain

43) The need for elaborate scenery has put many arena theatres out of business.

Answer: FALSE Bloom’s: Remember

Accessibility: Keyboard Navigation LO: Identify the advantages and limitations of the arena space

44) For some productions, scenic designers are able to alter the architecture of the space to create a new arrangement or configuration.

Answer: TRUE Bloom’s: Remember Accessibility: Keyboard Navigation LO: Identify the ways that an altered performance space can create differing impressions

The Theatre Experience, 14e (Wilson) Chapter 5 The Director and the Producer 1) Which of the following is NOT the responsibility of the dramaturg?

1.

2.

3.

4.

A) Identifying significant plays from the past that have been overlooked B) Serving as a historical resource for the creative team C) Hiring the director and performers D) Researching criticism and interpretations of plays from the past

Answer: C Bloom’s: Remember Accessibility: Keyboard Navigation LO: Name the responsibilities of the dramaturg

2) It is very important for directors to create interesting visual compositions with the actors in space; this is known as creating effective 1.

2.

A) stage visualization.

B) visual balance.

3.

4.

C) visual empathy.

D) stage pictures.

Answer: D Bloom’s: Remember Accessibility: Keyboard Navigation LO: List those characteristics that make up visual composition or the stage picture

3) A main task of the modern-day director is to 1.

2.

3.

4.

A) oversee the budget and financial management of the production.

B) prevent performers from overacting.

C) draw disparate elements together to create a unified whole.

D) create distance between the audience and the production.

Answer: C Bloom’s: Understand Accessibility: Keyboard Navigation LO: Define the role of the director

4) Which of the following is NOT associated with the “front of the house”?

1.

2.

3.

4.

A) Printing programs B) Securing ushers C) Selling tickets D) Raising money for the production

Answer: D Bloom’s: Remember

Accessibility: Keyboard Navigation LO: Name the responsibilities of the managing director 5) Characteristic of English director Peter Brook’s work is an attempt to 1.

2.

3.

4.

A) discover a universal language in theatre.

B) play the role of actor, director, and producer.

C) deconstruct the text of each production.

D) produce plays devoid of visual elements.

Answer: A Bloom’s: Understand Accessibility: Keyboard Navigation LO: Illustrate Peter Brook’s use of global theatre traditions

6) Which of the following is NOT a hallmark of a postmodern production?

1.

2.

3.

4.

A) Deconstruction B) Nonlinear structure C) Closeness D) Fragmented space

Answer: C Bloom’s: Remember Accessibility: Keyboard Navigation LO: Contrast the differences between modern and postmodern theatre

7) In a noncommercial theatre, the managing director is akin to the ________ in a commercial theatre.

1.

2.

3.

4.

A) artistic director B) producer C) board of directors D) stage manager

Answer: B Bloom’s: Remember Accessibility: Keyboard Navigation LO: Name the responsibilities of the managing director

8) When a play is performed as it will be before the public, complete with all production elements but without an audience present, it is called the 1.

2.

3.

4.

A) dress rehearsal.

B) technical rehearsal.

C) performance.

D) preview.

Answer: A Bloom’s: Remember Accessibility: Keyboard Navigation LO: Classify the different kinds of rehearsals before opening a production 9) A performance in front of an audience prior to the “official” opening of a play, when the director and the performers discover which parts of the play are successful and which are not, is known as the 1.

2.

3.

4.

A) dress rehearsal.

B) technical rehearsal.

C) performance.

D) preview.

Answer: D Bloom’s: Remember Accessibility: Keyboard Navigation LO: Classify the different kinds of rehearsals before opening a production

10) The arrangement and movements of performers relative to each other and to the stage space is called 1.

2.

3.

4.

A) casting.

B) auditions.

C) blocking.

D) business.

Answer: C Bloom’s: Remember Accessibility: Keyboard Navigation LO: Define the meaning of blocking

11) The casting of a role without consideration of a performer’s ethnicity, gender, transgender identity, or disability is called 1.

2.

3.

4.

A) conditional casting.

B) diversity casting.

C) multicultural casting.

D) nontraditional casting.

Answer: D Bloom’s: Remember Accessibility: Keyboard Navigation LO: Categorize the different kinds of casting

12) Which person is responsible for raising money to finance a production?

1.

2.

A) Director B) Producer

3.

4.

C) Stage manager D) Dramaturg

Answer: B Bloom’s: Remember Accessibility: Keyboard Navigation LO: Summarize the responsibilities associated with the producer 13) Which person blocks or stages the play?

1.

2.

3.

4.

A) Director B) Producer C) Stage manager D) Dramaturg

Answer: A Bloom’s: Remember Accessibility: Keyboard Navigation LO: Define the role of the director

14) Which person identifies significant plays from the past that may have been overlooked?

1.

2.

3.

4.

A) Director B) Producer C) Stage manager D) Dramaturg

Answer: D Bloom’s: Remember Accessibility: Keyboard Navigation LO: Name the responsibilities of the dramaturg

15) Which person casts the actors?

1.

2.

3.

4.

A) Director B) Producer C) Stage manager D) Dramaturg

Answer: A Bloom’s: Remember Accessibility: Keyboard Navigation LO: Define the role of the director

16) Which person researches productions and criticism?

1.

2.

3.

4.

A) Director B) Producer C) Stage manager D) Dramaturg

Answer: D Bloom’s: Remember Accessibility: Keyboard Navigation LO: Name the responsibilities of the dramaturg 17) Which person maintains quality control of all production elements after opening?

1.

2.

3.

4.

A) Director B) Producer C) Stage manager D) Dramaturg

Answer: C

Bloom’s: Remember Accessibility: Keyboard Navigation LO: Explain the work of the stage manager

18) Which person oversees the budget?

1.

2.

3.

4.

A) Director B) Producer C) Stage manager D) Dramaturg

Answer: B Bloom’s: Remember Accessibility: Keyboard Navigation LO: Summarize the responsibilities associated with the producer

19) Which person develops a concept for the production?

1.

2.

3.

4.

A) Director B) Producer C) Stage manager D) Dramaturg

Answer: A Bloom’s: Remember Accessibility: Keyboard Navigation LO: Define the role of the director

20) Which person prepares materials for teachers and writes articles for the programs?

1.

2.

3.

4.

A) Director B) Producer C) Stage manager D) Dramaturg

Answer: D Bloom’s: Remember Accessibility: Keyboard Navigation LO: Name the responsibilities of the dramaturg 21) Which person coordinates light, sound, and scene changes during the performance, as well as the entrances and exits of the performers?

1.

2.

3.

4.

A) Director B) Producer C) Stage manager D) Dramaturg

Answer: C Bloom’s: Remember Accessibility: Keyboard Navigation LO: Explain the work of the stage manager

22) Which person arranges for ushers, tickets, programs, and other front-of-the-house details?

1.

2.

3.

4.

A) Director B) Producer C) Stage manager D) Dramaturg

Answer: B Bloom’s: Remember Accessibility: Keyboard Navigation

LO: Summarize the responsibilities associated with the producer

23) Which person communicates the rehearsal schedule to the performers?

1.

2.

3.

4.

A) Director B) Producer C) Stage manager D) Dramaturg

Answer: C Bloom’s: Remember Accessibility: Keyboard Navigation LO: Explain the work of the stage manager

24) Which type of nonrealism gives outward expression to inner feelings?

1.

2.

3.

4.

A) Allegory B) Expressionism C) Heightened realism D) Naturalism

Answer: B Bloom’s: Remember Accessibility: Keyboard Navigation LO: Classify differing styles of production 25) Which type of realism attempts to put as exact a copy of life as possible onstage down to the smallest detail?

1.

2.

3.

A) Allegory B) Expressionism C) Heightened realism

4.

D) Naturalism

Answer: D Bloom’s: Remember Accessibility: Keyboard Navigation LO: Classify differing styles of production

26) Which type of realism is intended to resemble real life with a certain artistic license allowed to inject creativity into the process?

1.

2.

3.

4.

A) Allegory B) Expressionism C) Heightened realism D) Naturalism

Answer: C Bloom’s: Remember Accessibility: Keyboard Navigation LO: Classify differing styles of production

27) Which type of nonrealism represents an abstract theme through symbolic characters, actions, and other elements of the production?

1.

2.

3.

4.

A) Allegory B) Expressionism C) Heightened realism D) Naturalism

Answer: A Bloom’s: Remember Accessibility: Keyboard Navigation LO: Classify differing styles of production

28) The point of view of an auteur production is that of the director, not the playwright.

Answer: TRUE Bloom’s: Remember Accessibility: Keyboard Navigation LO: Define auteur director 29) As long as there have been theatrical productions, there has been someone performing the function of director.

Answer: TRUE Bloom’s: Understand Accessibility: Keyboard Navigation LO: Define the role of the director

30) The producer is generally responsible for casting.

Answer: FALSE Bloom’s: Remember Accessibility: Keyboard Navigation LO: Define the role of the director

31) All movement in a play is orchestrated by the choreographer.

Answer: FALSE Bloom’s: Remember Accessibility: Keyboard Navigation LO: Identify the faults in a production most often attributed to the director

32) Postmodern directors tend to integrate elements of dance, film, video, and computer material into their productions.

Answer: TRUE Bloom’s: Remember Accessibility: Keyboard Navigation LO: Contrast the differences between modern and postmodern theatre

33) The production manager is responsible for all the creative activities of a noncommercial theatre.

Answer: FALSE Bloom’s: Remember Accessibility: Keyboard Navigation LO: Name the responsibilities of the managing director

34) Though the director sets the pace for a production, the pace and rhythm of a production ultimately becomes the responsibility of its performers.

Answer: TRUE Bloom’s: Remember Accessibility: Keyboard Navigation LO: Identify the faults in a production most often attributed to the director 35) A director’s first step is to determine the spine of the play.

Answer: TRUE Bloom’s: Remember Accessibility: Keyboard Navigation LO: Describe the meaning of the spine of the play