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1 | |
Geographically, Western theatre generally includes_______________. |
| | A) | California, Nevada, Wyoming |
| | B) | Europe, the Americas, Australia |
| | C) | Only the U.S.A. and England |
| | D) | none of the above |
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2 | |
Eastern theatre generally includes____________________. |
| | A) | Asia, Micronesia, Indonesia |
| | B) | New York, Boston, Philadelphia |
| | C) | only China and Japan |
| | D) | none of the above |
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3 | |
The theatre of the following countries is probably the most interesting to the Western theatre student. |
| | A) | India, China, Japan |
| | B) | Korea, Viet Nam, Thailand |
| | C) | Hong Kong, Singapore, Taiwan |
| | D) | Indonesia, Tahiti, Hawaii |
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4 | |
Dramatic language in Asian drama is valued for it's_______________. |
| | A) | clear meaning |
| | B) | structural integrity |
| | C) | sound more than meaning |
| | D) | clarity of imagery |
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5 | |
Which of the following does not describe Asian theatre? |
| | A) | a strong emphasis on story telling |
| | B) | broadly stylized |
| | C) | highly experimental |
| | D) | intense apprenticeships |
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6 | |
Indian theatre began in about 200 B.C. as: |
| | A) | a Greek spin-off |
| | B) | Hindi dramatic stories |
| | C) | Sanskrit dance drama |
| | D) | ribald comedy |
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7 | |
An important treatise on Indian theatre is called the: |
| | A) | Mahabarata |
| | B) | Sankritia |
| | C) | Mogadishu |
| | D) | Natyasastra |
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8 | |
The most widely known form of contemporary Indian dance drama is: |
| | A) | Natyasastra |
| | B) | Kathakali |
| | C) | Kabuki |
| | D) | Sensuan |
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9 | |
The Chinese term xiqu that we call “Chinese opera” is actually: |
| | A) | tuneful theatre |
| | B) | songspiel |
| | C) | No drama |
| | D) | dance drama |
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10 | |
Zaju, an early Chinese opera form, was characterized by: |
| | A) | serious dialogue and tragic themes |
| | B) | elaborate sets and costumes |
| | C) | music, dance, acrobatics and clowning |
| | D) | long soliloquies and verse |
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11 | |
Which of the following does not describe xiqu? |
| | A) | presented in diverse surroundings |
| | B) | usually anonymous |
| | C) | actors play many and varied roles |
| | D) | all are based on well-known stories |
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12 | |
The xiqu characters are divided into the following broad types: |
| | A) | sheng roles, dan roles, jug roles, chou roles |
| | B) | old man, young man, painted ladies, royalty |
| | C) | historical roles, contemporary roles, classical roles |
| | D) | prang roles, prong roles, pling roles, plang roles |
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13 | |
Which of the following describes the voice work in Chinese Opera? |
| | A) | much like Italian opera |
| | B) | high-pitched falsetto |
| | C) | normal vocal tones |
| | D) | unaccompanied singing |
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14 | |
The two great Japanese theatre forms are: |
| | A) | comedy and tragedy |
| | B) | Senyan and Banyan |
| | C) | nõ and Kabuki |
| | D) | xiqu and zaju |
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15 | |
Which of the following does not describe nõ drama? |
| | A) | weak non-existent plots |
| | B) | highly obscure language |
| | C) | all male casts |
| | D) | fast paced |
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16 | |
Kabuki had its origins as: |
| | A) | all women, erotic dance |
| | B) | historic military drama |
| | C) | classical music performance |
| | D) | highly sedate drama |
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17 | |
Kabuki plays fall into the following three categories: |
| | A) | farce, comedy, drama |
| | B) | jidaimono, sewamono, shosagoto |
| | C) | religious drama, secular drama, classical drama |
| | D) | sensae, ponsae, donsae |
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18 | |
A unique element of Kabuki architecture is the hanamichi or: |
| | A) | large backdrop |
| | B) | extended stage apron |
| | C) | perpendicular runway |
| | D) | multiple trap doors |
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19 | |
The onnagata in Kabuki are: |
| | A) | warriors and heroes in armor |
| | B) | stylized females played by men |
| | C) | old men and old women |
| | D) | principle characters played by men and women |
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20 | |
The most astonishing moment in the Kabuki performance is the mie, which is: |
| | A) | the emotional climax of a scene |
| | B) | a stylized fight scene |
| | C) | a love scene with passion |
| | D) | a highly energetic death |
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