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1 |  |  Which of the following are requirements of drama? |
|  | A) | many people with different skills |
|  | B) | a large gathering to witness it |
|  | C) | a sophistication off social organization |
|  | D) | all of the above |
|  | E) | none of the above |
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2 |  |  Drama derives from two ancient sources: |
|  | A) | history and culture |
|  | B) | storytelling and ritual |
|  | C) | religion and politics |
|  | D) | family and community |
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3 |  |  Which of the following is not a characteristic of ritual? |
|  | A) | celebrates the changing of the seasons |
|  | B) | reenacts defining moments in a culture |
|  | C) | performed for entertainment only |
|  | D) | based on religious or cultural activity |
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4 |  |  Which of the following is not a development of storytelling? |
|  | A) | character impersonation |
|  | B) | imitation of voices |
|  | C) | imitation of facial expression |
|  | D) | written dialogue |
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5 |  |  The first recorded drama was: |
|  | A) | Oedipus Tyrannus |
|  | B) | the quem queritas trope |
|  | C) | the Abydos Passion Play |
|  | D) | Agamemnon |
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6 |  |  The dithyramb, or Dionysian festival included: |
|  | A) | drinking copious quantities of wine |
|  | B) | raucous dancing and phallic worship |
|  | C) | chanting ancient poems |
|  | D) | all of the above |
|  | E) | none of the above |
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7 |  |  The four extant Greek playwrights are: |
|  | A) | Plato, Socrates, Aristotle and Ovid |
|  | B) | Aeschylus, Sophocles, Euripedes, and Aristophanes |
|  | C) | Menander, Thucydides, Homer and Euclid |
|  | D) | Oscar, Kermit, Ernie, and Bert |
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8 |  |  The Greek theatre was dedicated to one god in particular named: |
|  | A) | Dionysus |
|  | B) | Zeus |
|  | C) | Hera |
|  | D) | Pluto |
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9 |  |  The City Dionysia was: |
|  | A) | weeklong springtime festival and play contest |
|  | B) | a small village on the Aegean Sea |
|  | C) | a yearly ritual sacrifice |
|  | D) | another name of the City of Athens |
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10 |  |  The quem queritas trope is a chanted celebration of: |
|  | A) | the resurrection of Jesus |
|  | B) | the nativity of Jesus |
|  | C) | the creation of the world |
|  | D) | the story of Moses |
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11 |  |  The medieval plays that were performed near the feast of Corpus Christi were also called: |
|  | A) | cycle plays |
|  | B) | morality plays |
|  | C) | festival plays |
|  | D) | sacred plays |
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12 |  |  The plays of the Middle Ages were performed on: |
|  | A) | stages built within the church |
|  | B) | the steps of the churches and parish halls |
|  | C) | elaborately decorated wagons or mansions |
|  | D) | a series of permanent stages built around the town square |
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13 |  |  The audience of the Royal era was: |
|  | A) | mostly middle class and bourgeois |
|  | B) | restricted to aristocrats and nobility |
|  | C) | serious theatregoers |
|  | D) | a diverse group of people |
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14 |  |  Which of the following are not a part of the neo-classic rules of playwriting in the Royal era? |
|  | A) | eliminate stage violence |
|  | B) | reasonable frameworks for time and place |
|  | C) | vigorous physical action |
|  | D) | measures for dramatic verse |
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15 |  |  Romanticism in the theatre was characterized by |
|  | A) | compassion, rather than style and wit |
|  | B) | rational decorum |
|  | C) | respect for established order |
|  | D) | careful attention to morality |
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16 |  |  Dramatic language in Asian drama is valued for its ___________. |
|  | A) | clear meaning |
|  | B) | structural integrity |
|  | C) | sound more than meaning |
|  | D) | clarity of imagery |
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17 |  |  Which of the following does not describe Asian theatre? |
|  | A) | a strong emphasis on story-telling |
|  | B) | visual and sensual |
|  | C) | highly experimental |
|  | D) | rhythmic and melodic |
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18 |  |  An important treatise on Indian theatre is called the: |
|  | A) | Mahabarata |
|  | B) | Sankritia |
|  | C) | Mogadishu |
|  | D) | Natyasastra |
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19 |  |  The most widely known form of contemporary Indian dance drama is: |
|  | A) | Natyasastra |
|  | B) | Kathakali |
|  | C) | Kabuki |
|  | D) | Sensuan |
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20 |  |  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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