 |
1 | |
A play frames and focuses action around: |
| | A) | people in action |
| | B) | a particular conflict |
| | C) | interesting situations |
| | D) | a series of funny circumstances |
|
|
2 | |
A play is all of the following except: |
| | A) | presents us with characters as role models |
| | B) | an animated piece of life |
| | C) | meaningful human struggles |
| | D) | a discourse on morality |
|
|
3 | |
Which of the following is an example of the length of a play? |
| | A) | ten minutes plays with one action |
| | B) | six to nine hour productions of epic themes |
| | C) | a one-minute scene |
| | D) | all of the above |
| | E) | none of the above |
|
|
4 | |
A serious play with a topic of universal impact as its theme, which describes a problem of insurmountable odds is: |
| | A) | comedy |
| | B) | drama |
| | C) | tragedy |
| | D) | serio-theatre |
|
|
5 | |
The central character in a drama is called the: |
| | A) | protagonist |
| | B) | star |
| | C) | antagonist |
| | D) | lead character |
|
|
6 | |
The father of dramatic criticism is: |
| | A) | Sophocles |
| | B) | Plato |
| | C) | Socrates |
| | D) | Aristotle |
|
|
7 | |
In a tragedy, the protagonist recognizes a fundamental error or sin known as: |
| | A) | hamartia |
| | B) | evil |
| | C) | harambis |
| | D) | faithlessness |
|
|
8 | |
The resolution of a tragedy, which elicits pity and fear in the audience, is called: |
| | A) | Falling action |
| | B) | relief |
| | C) | denouement |
| | D) | catharsis |
|
|
9 | |
The first known comedies were written by __________ who set the form for comedy to come. |
| | A) | Sophocles |
| | B) | Aristophanes |
| | C) | Euminides |
| | D) | Euripedes |
|
|
10 | |
Which of the following is not a characteristic of comedy? |
| | A) | interpersonal conflicts |
| | B) | topical issues |
| | C) | fate and suffering |
| | D) | verbal and sexual playfulness |
|
|
11 | |
Which of the following is not a genre of theatre developed in the pre-modern era of theatre? |
| | A) | history play |
| | B) | interludes |
| | C) | mystery play |
| | D) | absurdist play |
|
|
12 | |
A form that serves as a bridge between the two majors genres is called: |
| | A) | tragi-comedy |
| | B) | dark comedy |
| | C) | serio-comedy |
| | D) | drama |
|
|
13 | |
Which of the following is not a characteristic of tragicomedy? |
| | A) | Maintains a serious theme |
| | B) | solvable problems |
| | C) | maintains larger-than-life- scale |
| | D) | concludes without a catharsis |
|
|
14 | |
A genre that dominates the theatre, particularly after World War II that ends ironically is called: |
| | A) | absurdism |
| | B) | serio-comedy |
| | C) | dark comedy |
| | D) | comic reality |
|
|
15 | |
________________ is a highly theatrical confrontation between good and evil, rather than universal themes. |
| | A) | melodrama |
| | B) | tragi-comedy |
| | C) | musical drama |
| | D) | pastiche |
|
|
16 | |
__________________ is a form of comedy characterized by trivial themes, shock characters and theatrical situations. |
| | A) | comedy of manners |
| | B) | buffoonery |
| | C) | farce |
| | D) | burlesque |
|
|
17 | |
The primary demands of Plot are traditionally: |
| | A) | surprise and resolution |
| | B) | logic and suspense |
| | C) | good and evil |
| | D) | action and reaction |
|
|
18 | |
The fundamental demand of a play's characters is that: |
| | A) | they support the plot |
| | B) | they make the audience care |
| | C) | they are realistic |
| | D) | they are fully detailed |
|
|
19 | |
___________________is the tacit agreement between audience and actor that form the context of play watching. |
| | A) | tradition |
| | B) | stage directions |
| | C) | suspension of disbelief |
| | D) | convention |
|
|
20 | |
The four identifiable structural elements in almost every play are: |
| | A) | exposition, conflict, climax, denouement |
| | B) | opening, intensification, confrontation, resolution |
| | C) | beginning, middle, extension and conclusion |
| | D) | thesis, sub-thesis, post-thesis, antithesis |
|