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1 | |
The two levels of work a director has to do are: |
| | A) | internal and external |
| | B) | classic and romantic |
| | C) | technical and artistic |
| | D) | laissez faire and controlling |
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2 | |
The Greeks called the director didaskolos, which means: |
| | A) | leader |
| | B) | artist |
| | C) | didactic |
| | D) | teacher |
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3 | |
The first director of the modern era was: |
| | A) | Constantine Stanislavski |
| | B) | George II, duke of Saxe Meiningen |
| | C) | Andre Antoine |
| | D) | George Spelvin |
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4 | |
The real importance of the new directors in the 19th century was: |
| | A) | They established conventions for how to block a play |
| | B) | they opened the theatre to deeper psychological interpretation |
| | C) | They challenged actors to be honest |
| | D) | They re-discovered the classical theatre |
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5 | |
The most influential proponent of the stylized director was: |
| | A) | Otto Brahm |
| | B) | Paul Fort |
| | C) | Vsevelod Meyerhold |
| | D) | Gordon Craig |
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6 | |
Which of the following is not a job of the producer? |
| | A) | Hire the director |
| | B) | Establish the budget |
| | C) | Cast the actors |
| | D) | Stage the play |
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7 | |
The principal functions of the director are: |
| | A) | to cast the actors and control the budget |
| | B) | to envision the production and provide leadership |
| | C) | to achieve his/her concept |
| | D) | to set the tone and establish the style |
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8 | |
Which of the following is not part of preparatory phase? |
| | A) | play selection |
| | B) | casting |
| | C) | designer selection |
| | D) | pacing |
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9 | |
Which of the following is not part of the implementation phase? |
| | A) | staging |
| | B) | actor coaching |
| | C) | designing |
| | D) | pacing |
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10 | |
The four ingredients of theatre for a director are: |
| | A) | script, actors, stage, audience |
| | B) | space, people, text, materials |
| | C) | plot, character, thought, music |
| | D) | spectacle, music, enlightenment, entertainment |
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11 | |
How does the design phase generally take place? |
| | A) | in personal conferences |
| | B) | in solitary inspiration |
| | C) | as a requirement of the producer |
| | D) | as a whole company experience |
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12 | |
Casting decisions are usually made: |
| | A) | in long conferences |
| | B) | before the auditions occur |
| | C) | in 2-4 minutes auditions |
| | D) | in private interviews |
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13 | |
The most obvious directorial function is: |
| | A) | casting |
| | B) | play selection |
| | C) | staging |
| | D) | actor coaching |
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14 | |
Which of the following is not a part of staging? |
| | A) | blocking |
| | B) | business |
| | C) | fights |
| | D) | dialogue |
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15 | |
In the first rehearsals, the director's job shifts to: |
| | A) | pacing the play |
| | B) | coordinating the elements |
| | C) | working on memorization with the actors |
| | D) | taking out the "improvements" |
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16 | |
In the technical rehearsal, the director: |
| | A) | releases control to the actors and technicians |
| | B) | intensifies control over the production |
| | C) | makes changes of things that don't work |
| | D) | makes sure his/her concept is completed |
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17 | |
One of the most remarkable recent developments in American theatre is: |
| | A) | the paucity of good directors |
| | B) | the dearth f directorial training programs |
| | C) | the emergence of many good directors |
| | D) | the rise of the actor/manager |
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