Throughout the semester we’ve discussed how plays employ

Question
6(3 points)
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Throughout the semester
we’ve discussed how plays employ literary devices and that
those literary devices become theatrcial conventions when
iterpretted for the stage. THE SHAPE OF THINGS by Neil LaBute uses literary devices that include
manipulation of the manner in which the words are printed on the page. In
a sense, we could say they are “publishing conventions” because they
are playing with the way that the play is published to convey meaning from
dramatist to director, designers and actors. The two examples of this in
Labute’s play are
Question 6 options:

notation to denote simultaneous speech or interrupted
dialogue and a lack of capitalization. Both of these serve to give the
play a poppy, modern “text message” persona.

rests and spells. Both of these serve to transmit
the raw, simple humanity of the characters to the audience.

symbols and motifs. Both of these help to establish
meaning by linking theme to tangible, reoccuring objects in the play.

Irony. This literary motif irrors mirrors the horror
of the plat’s central -narrative dsevice.

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Question 7(3 points)
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All of the following are
themes we listed in our discussion of THE SHAPE OF THINGS by Neil LaBute except
Question 7 options:

art

sociopathy (lack of empathy)

eugenics

beauty

ethics

gender issues

realism versus naivete

intimacy and love

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Question 8(3 points)
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IN THE BLOOD by Suzan-Lori
Parks makes structural use of what two literary allusions?
Question 8 options:

the rest and the spell

double casting and confessions

Classical Greek Tragedy and The Scarlett Letter

diction and spectacle

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Question 9(3 points)
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The birthplace of the
dramatic arts, like the birthplace of all humanity, is thought to be on the
continent of
Question 9 options:

Africa

Europe

North America

Asia

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Question 10(3 points)
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What kind of IRONY is
employed when Vivian says she is doing fine while is she is puking her guts out
during treatment for her terminal cancer?
Question 10 options:

Dramatic

Socratic

Verbal

Situational

Exageration

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Question 11(3 points)
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When we discuss a show’s
theatricality, we are talking about bridging the distance between the
represented and the real with creative solutions that:
Question 11 options:

Do not pretend the distance doesn’t exist and

Use that distance as on opportunity to build an additional
layer of meaning into the production

Help to define and articulate THEME

Create realistic, believable stage effects

A, B, and C

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Question 12(3 points)
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As we discussed in in
class, the prefix META can be thought of as “about” in the sense that
it makes the root word self-reflexive or self-aware. What META word
relates most intimately to Aristotles concept of MIMESIS?
Question 12 options:

Metaplot becuase a plot about a plot is the ultimate
imitation.

Metamorph becuase the ability to change is at the center
of building character and relating stroy.

Metaphor because “the transference of ideas”
between performer and audience is the basic building block of all imitation.

Metatheatre becuase its got the word “theatre”
right in it!

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Question 13(3 points)
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We can discuss theatre as
literature, visual art, performance and entertainment. Of these, which is the
most durable or the
least fleeting?
c. The Entertainment – I
don’t care if I’m not engaged
d. The Literary – The
performance dies; the script lives forever
Question 13 options:

The Visual Art – a great set is forever

The Performance – we remember moments, not things

The Entertainment – I don’t care if I’m not engaged

The Literary – The performance dies; the script lives
forever

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Question 14(10 points)
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Please match the term /
person with the phrase which most closely represents its meaning or use.
Question 14 options:

best staed as an active sentence or
an idea rather than a category or a word

represent abstract ideas

WORK versus PRIVILEGE

can be represented theatrically by
double-casting

metaphysical poet

style of Ibsen, Strindberg that
encouraged dialectic response leading to period of modernism

Russian theorist, father of montage

have thoroughly memorized the
current state of affiars

important role was the
representation of common audience on stage

repeated structural elements

this “arch”, meaning
“in front of / before the scenery” helped to to define the
19th century concept of the 4th wall

Russian theorist, father of modern
acting technique

“emotional brain” is thought to
home to our emotions, pleasure centers, spatial memory, long-term memory,
and our sense of smell.

representation, a species of
imitation from which we derive pleasure

director know for “Epic”
work

distance that the audience crosses
when they learn or infer the connection between representation and reality

1.

theme

2.

motif

3.

symbol

4.

proscenium

5.

mimesis

6.

Realism

7.

Sergei Eisenstein

8.

Constantin Stanislavski

9.

Bertolt Brecht

10.

experts

11.

willing suspension of
disbeleif

12.

cycles of abuse or marginalization

13.

Greek Chorus

14.

Donne

15.

limbic system

16.

central contemporary political
dialectic

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Question 15(2 points)
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In the following
quotation, Tenesse Williams is writing in support of Realism.
Being a “memory
play,” The Glass Menagerie can be presented with unusual
freedom of convention. Because of its considerable delicate or tenuous
material, atmospheric touches and subtleties of direction play a particularly
important part. Expressionism and all other unconventional techniques in drama
have only one valid aim, and that is a closer approach to truth. When a play
employs unconventional techniques, it is not, or certainly shouldn’t be, trying
to escape its responsibility of dealing with reality, or interpreting
experience, but is actually or should be attempting to find a closer approach,
a more penetrating and vivid expression of things as they are. The straight
realistic play with its genuine Frigidaire and authentic ice-cubes, its
characters who speak exactly as its audience speaks, corresponds to the
academic landscape and has the same virtue of a photographic likeness. Everyone
should know nowadays the unimportance of the photographic in art: that truth,
life, or reality is an organic thing which the poetic imagination can represent
or suggest, in essence, only through transformation, through changing into
other forms than those which were merely present in appearance.
This quote
proves that, in the dilalectic between Naturalism and Theatricalism,
Tennessee Williams clearly supports a realistic, “slice of life”
aesthetic, when it comes to embracing the distance.
Question 15 options:

True

False

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Question 16(3 points)
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Our style or aesthetic,
as theatre artists, is often born of the solutions we find for specific
problems faced in production. All of these are problems discussed in class
except:
Question 16 options:

a. The problem of the inciting incident, the disruption of
the initial stasis.

b. Structural/Critical problems like representing a
conservative, “slipery slope” paradigm through a production of THE
GOAT…

c. The need to provide a healthy return for investors and
keep the production fiscally solvent.

d. The basic mimetic problem – how do I represent a
reality on stage in such a manner that the audience will say, “Aha, so that
is supposed to be that!”

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Question 17(3 points)
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According to our THE GOAT
by Edward Albee archive, every part of
the play’s title has thematic relevance, except:
Question 17 options:

THE GOAT
The main title is not meaningful. Albee himself says
Sylvia is not a metaphor; she is just a goat.

OR WHO IS SYLVIA
The alternate title, although easily interpreted

Generally,
as a reference to the two-part title’s of Shakespeare and the
Restoration and
Specifically,
as a reference to Proteus in TWO GENTLEMEN OF VERONA,

does not address the plays central themes and is only
meant to be meaningless, droll wit, much like the banter between Martin and
Stevie in the first scene.

NOTES TOWARD A DEFINITION OF TRAGEDY
The play’s subtitle is clearly a theatrical hedge, meant
to deemphasize any symbolist efforts to parse Albee’s text.

None of the above. Every part of evert title, no
matter how long or short, is deeply meaningful – in terms of themes,
aesthetics and narrative.

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Question 18(3 points)
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In Father Flynn’s Scene 6 sermon, which provides the best possible suggestion
of the sermon’s central theme and the related theme in the play?
Question 18 options:

Sermon: feathers
Play: life’s variability

Sermon: gossip
Play: the dangers of easy beleif, certainty and a
“mob mentality”

Sermon: women
Play: gender

Sermon: jailable offenses
Play: retribution

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Question 19(3 points)
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All of the following are
reasons that Sister Aloysius doesn’t trust Father Flynn, except:
Question 19 options:

his pens

the subject matter of his sermons

the way he takes his tea

his adoration for old cars, especially since the parish
provides him with “the brown Dodge”

his nails

the time he spends wih certain students

his secular Christmas music

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Question 20(3 points)
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Is Father Flynn guilty?
Question 20 options:

Yes

No

The point is that we do not know. The question
cannot be, “Is he guilty;” rather, it must be, “Is Sister
Aloysiuis right to act?”

 

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