Question 1

Which of these is not a stage of proto-performance?&#10;A) Training&#10;B) Warm-Up&#10;C) Rehearsal&#10;D) Workshop

Accepted Answer

B

Question 2

The rasaboxes exercise deals primarily with which facet of acting?&#10;A) Emotions&#10;B) Interaction&#10;C) Vocalisation&#10;D) Energy Projection

Accepted Answer

The rasaboxes exercise is specifically designed to help actors explore and express a range of emotions through physical movement and gestures. It is a tool for developing emotional range and depth in an actor's performance.

Question 3

The infamous play that premiered in Paris in 1896 to riots and is now performed without incident is:&#10;A) Hamlet&#10;B) The Lion King&#10;C) 4' 3''&#10;D) Ubu Roi

Accepted Answer

Ubu Roi is known for causing a scandal at its premiere in Paris in 1896, with audience members throwing objects and shouting protests. However, it is now often performed without incident, especially in avant-garde theater circles.

Question 4

What is the longest length of time that the 'Aftermath' phase of a performance can last?&#10;A) Hours&#10;B) Days&#10;C) Months&#10;D) Centuries

Accepted Answer

The 'Aftermath' phase of a performance refers to the lasting impact or legacy it leaves, which can continue to influence for centuries. This includes how it is remembered, studied, and its influence on culture and future performances.

Question 5

What is the 'performance quadrilogue'?&#10;A) the dynamic relationships between four categories of players&#10;B) the four main sites of theatrical performance in the twenty-first century&#10;C) the four disciplines of the theatre: acting, singing, dancing, speaking&#10;D) the four chronological stages of a typical performance

Accepted Answer

The performance quadrilogue refers to the interactions between four categories of players, which are the performer, the spectator, the author, and the director. These four categories are essential to the creation and reception of a performance, and their relationships can greatly affect the success of a production.

Question 6

In Meyerhold's &#34;theatre of the straight line&#34;:&#10;A) the play is wholly absorbed by the director but not the actors.&#10;B) the play is wholly absorbed by the actors but not the director.&#10;C) the play is wholly absorbed by the director who conveys his interpretation to the actors.&#10;D) the play is wholly absorbed by the audience only.

Accepted Answer

In Meyerhold's "theatre of the straight line," the play is wholly absorbed by the director who conveys his interpretation to the actors. Meyerhold believed that it was the director's job to create a unified approach to the production, and that the actors should follow his or her lead. This approach emphasized the importance of symbolism and formalism, which meant that the actors were seen as tools to create a visually striking performance rather than as individuals with their own interpretations of the text. Therefore, the director was the controlling factor in the production, and the actors were expected to follow his or her lead.

Question 7

Which filmmaker developed the 'montage'?&#10;A) Andrei Tarkovsky&#10;B) Alejandro Jodorowski&#10;C) Aleksandr Khanzhonkov&#10;D) Sergei Eisenstein

Accepted Answer

Sergei Eisenstein, a Soviet filmmaker and theorist, is credited with developing the montage technique, which involved the juxtaposition of different shots or images to create a new meaning or emotional response. He used this technique extensively in his films, including "Battleship Potemkin" and "October".

Question 8

How do the scripts of traditional Japanese theatre differ from those of the West?&#10;A) they are not read aloud&#10;B) they are not restricted to reproducing dialogue&#10;C) they are written by the entire cast&#10;D) they are not recorded in writing

Accepted Answer

Traditional Japanese theatre scripts, such as Noh and Kabuki, go beyond dialogue and include detailed information on movement, costumes, and stage design. The script is essentially a blueprint for the entire performance, whereas in the West, scripts mainly focus on dialogue and leave the other creative elements up to the director and production team.

Deck 7: Performance Processes