Theatre (Grades K–12)
Subtest 1 Sample Items
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Question 1
1. The form of eighteenth- and nineteenth-century theatre characterized by the features below originated in which of the following countries?
- elaborate costumes and makeup
- rhymed spoken and sung dialogue
- few properties and simple backdrops
- character roles defined by speaking, singing, and acrobatics
- England
- China
- India
- Spain
Answer to question 1
- Answer Enter to expand or collapse answer. Answer expanded
- Correct Response: B. (Objective 0001) Beijing Opera solidified as a theatrical form in China during the late 1800s. Makeup and costumes of Beijing Opera, as well as many other forms of Chinese opera, are elaborate and feature vibrant colors. Subject matter of the plays vary considerably, and the emphasis of Beijing Opera is on the performance of the actors. Characters speak in rhyme, sing, and perform acrobatics. Sets and props are minimal, often reduced to basic properties like a table or chair.
Correct Response: B. (Objective 0001) Beijing Opera solidified as a theatrical form in China during the late 1800s. Makeup and costumes of Beijing Opera, as well as many other forms of Chinese opera, are elaborate and feature vibrant colors. Subject matter of the plays vary considerably, and the emphasis of Beijing Opera is on the performance of the actors. Characters speak in rhyme, sing, and perform acrobatics. Sets and props are minimal, often reduced to basic properties like a table or chair.
Question 2
2. Which of the following costume pieces played a key role in a commedia dell'arte performance?
- powdered wigs
- leather half-masks
- wooden stilts
- brightly colored gloves
Answer to question 2
- Answer Enter to expand or collapse answer. Answer expanded
- Correct Response: B. (Objective 0001) Masks were used in commedia dell'arte to help the audience identify the stock characters. Additionally, the features of a mask (e.g., shape of nose, field of vision) informed the movement and posture of the performers.
Correct Response: B. (Objective 0001) Masks were used in commedia dell'arte to help the audience identify the stock characters. Additionally, the features of a mask (e.g., shape of nose, field of vision) informed the movement and posture of the performers.
Question 3
3. Which of the following movements was most concerned with depicting a super-realistic portrayal of everyday life?
- Symbolism
- Expressionism
- Surrealism
- Naturalism
Answer to question 3
- Answer Enter to expand or collapse answer. Answer expanded
- Correct Response: D. (Objective 0001) Naturalism was a late–nineteenth-century theatrical movement that aimed to capture everyday life as it is with the detached observation of scientific study. According to Naturalism, every aspect of a play (e.g., the set, dialogue, costumes) should appear and sound exactly as in everyday life.
Correct Response: D. (Objective 0001) Naturalism was a late–nineteenth-century theatrical movement that aimed to capture everyday life as it is with the detached observation of scientific study. According to Naturalism, every aspect of a play (e.g., the set, dialogue, costumes) should appear and sound exactly as in everyday life.
Question 4
4. During the early middle ages, theatre was outlawed across much of Europe because it was viewed as:
- threatening to the work of the Church.
- wasteful in its use of natural resources.
- distracting to military actions.
- inaccurate in its depiction of history.
Answer to question 4
- Answer Enter to expand or collapse answer. Answer expanded
- Correct Response: A. (Objective 0001) In the early middle ages, theatre's association with pagan festivals and polytheistic view of the world placed it alongside other cultural elements that were considered a threat to Christianity. Church leaders routinely characterized theatre as the work of the devil and passed laws forbidding its performance.
Correct Response: A. (Objective 0001) In the early middle ages, theatre's association with pagan festivals and polytheistic view of the world placed it alongside other cultural elements that were considered a threat to Christianity. Church leaders routinely characterized theatre as the work of the devil and passed laws forbidding its performance.
Question 5
5. Plays with the characteristics below have a long cultural history in primarily which of the following regions of the world?
- puppeteers control flat, cut-out puppets behind a screen
- a light source behind the screen creates shadows of the puppets that can be seen by the audience on the other side of the screen
- accompanying music is cyclical and repetitive
- Southeast Asia
- Western Europe
- North Africa
- Central America
Answer to question 5
- Answer Enter to expand or collapse answer. Answer expanded
- Correct Response: A. (Objective 0001) Shadow plays have been performed throughout the world, but they have an especially long and strong tradition in Southeast Asian countries like Indonesia and Malaysia. Shadow plays are performed at night. A light source such as an open flame creates shadows of the puppets that the audience can see through a screen. Musicians typically play cyclical, repetitive music on instruments such as the gamelan.
Correct Response: A. (Objective 0001) Shadow plays have been performed throughout the world, but they have an especially long and strong tradition in Southeast Asian countries like Indonesia and Malaysia. Shadow plays are performed at night. A light source such as an open flame creates shadows of the puppets that the audience can see through a screen. Musicians typically play cyclical, repetitive music on instruments such as the gamelan.
Question 6
6. The Group Theatre contributed to the study of acting in the United States by adapting techniques developed by which of the following theatre artists?
- Konstantin Stanislavsky
- Bertolt Brecht
- Vsevolod Meyerhold
- Jerzy Grotowski
Answer to question 6
- Answer Enter to expand or collapse answer. Answer expanded
- Correct Response: A. (Objective 0002) Konstantin Stanislavsky was a highly influential Russian actor and director. His ideas on acting came to dominate the work of many actors and resulted in an approach to acting based on emotional authenticity. Group Theatre was a noncommercial repertory that developed in the 1930s and focused on social issues. It drew heavily on Stanislavsky's teachings and transformed his system into the American method, also known as the Method, which has dominated American stage and film since.
Correct Response: A. (Objective 0002) Konstantin Stanislavsky was a highly influential Russian actor and director. His ideas on acting came to dominate the work of many actors and resulted in an approach to acting based on emotional authenticity. Group Theatre was a noncommercial repertory that developed in the 1930s and focused on social issues. It drew heavily on Stanislavsky's teachings and transformed his system into the American method, also known as the Method, which has dominated American stage and film since.
Question 7
7. Which of the following objectives influenced Augusto Boal's creation of Theatre of the Oppressed?
- empowering the audience
- increasing funding for the arts
- promoting color-blind casting
- celebrating Brazilian playwrights
Answer to question 7
- Answer Enter to expand or collapse answer. Answer expanded
- Correct Response: A. (Objective 0002) In creating a form of theatre that encourages social and political change, Augusto Boal sought to shift the role of the audience from that of passive observers to actively engaged "spect-actors." Many of his techniques invite the audience to participate in and affect the outcome of the performance.
Correct Response: A. (Objective 0002) In creating a form of theatre that encourages social and political change, Augusto Boal sought to shift the role of the audience from that of passive observers to actively engaged "spect-actors." Many of his techniques invite the audience to participate in and affect the outcome of the performance.
Question 8
8. Devised theatre shifts the focus of new play development toward which of the following processes?
- public readings
- ongoing peer review
- research and prewriting
- collaborative group work
Answer to question 8
- Answer Enter to expand or collapse answer. Answer expanded
- Correct Response: D. (Objective 0002) In devised theatre, scripts or performance texts are created through collaborative and often improvisational group work. Because of this approach, the resulting performances tend to be adventurous in form and style and more weighted toward visual elements, movement, and music than toward dialogue and traditional narrative structure.
Correct Response: D. (Objective 0002) In devised theatre, scripts or performance texts are created through collaborative and often improvisational group work. Because of this approach, the resulting performances tend to be adventurous in form and style and more weighted toward visual elements, movement, and music than toward dialogue and traditional narrative structure.
Question 9
9. The decline of vaudeville as a viable theatrical form was a result of primarily which of the following developments?
- the introduction of commercial cinema
- the increase in the number of theatre fires
- the unionization of performers
- the popularity of Broadway musicals
Answer to question 9
- Answer Enter to expand or collapse answer. Answer expanded
- Correct Response: A. (Objective 0002) The novelty and relatively inexpensive price of commercial cinema made it increasingly difficult for vaudeville to survive. By the early 1930s, many of vaudeville's top stars had transitioned to film work, and vaudeville theatres gradually went from including cinema as part of their programs to operating as full-time movie houses.
Correct Response: A. (Objective 0002) The novelty and relatively inexpensive price of commercial cinema made it increasingly difficult for vaudeville to survive. By the early 1930s, many of vaudeville's top stars had transitioned to film work, and vaudeville theatres gradually went from including cinema as part of their programs to operating as full-time movie houses.
Question 10
10. Theatre for Development has primarily which of the following goals for communities?
- entertaining children
- solving problems
- portraying history
- teaching acting
Answer to question 10
- Answer Enter to expand or collapse answer. Answer expanded
- Correct Response: B. (Objective 0002) Theatre for Development is a type of participatory theatre intended to define and help solve the problems in local communities, particularly in the developing world. Everyone in the community is encouraged to contribute and the process of developing a script and a public performance is meant to be more important than the performance itself.
Correct Response: B. (Objective 0002) Theatre for Development is a type of participatory theatre intended to define and help solve the problems in local communities, particularly in the developing world. Everyone in the community is encouraged to contribute and the process of developing a script and a public performance is meant to be more important than the performance itself.
Question 11
11. Which of the following scripted moments would be classified as meta-theatrical?
- Two characters play instruments as part of a wedding scene.
- A character has an aside to the audience referencing his or her difficult situation.
- Two characters engage in a realistic fistfight.
- A character sits alone and is silent for an entire scene.
Answer to question 11
- Answer Enter to expand or collapse answer. Answer expanded
- Correct Response: B. (Objective 0003) A meta-theatrical moment occurs when theatre references itself or acknowledges the artifice of the onstage world. This can range from the play-within-a-play found in Hamlet to any instances in which actors break from their characters or characters break the fourth wall to address the audience directly.
Correct Response: B. (Objective 0003) A meta-theatrical moment occurs when theatre references itself or acknowledges the artifice of the onstage world. This can range from the play-within-a-play found in Hamlet to any instances in which actors break from their characters or characters break the fourth wall to address the audience directly.
Question 12
12. A theatre company is inviting guests to participate in a talkback after a performance of a play about the radical 1960s. Which of the following guests would most likely enhance the audience's understanding and appreciation of the work?
- the stage manager of the production who was present from the first rehearsal
- a political activist who was the real-life inspiration for one of the play's characters
- a musician from a local cover band that plays music from the period
- an actor who has performed in several of the playwright's other plays
Answer to question 12
- Answer Enter to expand or collapse answer. Answer expanded
- Correct Response: B. (Objective 0003) Post-show talkbacks create a dialogue with the audience and provide additional insight into the performance. Although members of the creative team (e.g., playwright, director, actors) are commonly included in talkbacks, it's also helpful to invite people who can provide an outside perspective on the work. This might include academics, experts in a particular field, or those who have a unique connection to the world of the play.
Correct Response: B. (Objective 0003) Post-show talkbacks create a dialogue with the audience and provide additional insight into the performance. Although members of the creative team (e.g., playwright, director, actors) are commonly included in talkbacks, it's also helpful to invite people who can provide an outside perspective on the work. This might include academics, experts in a particular field, or those who have a unique connection to the world of the play.
Question 13
13. Several students in a theatre class demonstrate strong comprehension of the subject matter and related terminology during class discussions. When called on to read aloud a section of a text in class, they can read accurately and at an appropriate rate. However, these same students demonstrate little comprehension of what they have read, even when they read a text silently. The theatre teacher could best address the content-area reading needs of these students by modeling and providing the students with practice in which of the following components of reading as part of content-area lessons?
- applying morphological knowledge
- self-monitoring/questioning
- activating prior knowledge
- print processing/decoding
Answer to question 13
- Answer Enter to expand or collapse answer. Answer expanded
- Correct Response: B. (Objective 0003) The students in this scenario demonstrate proficiency in many key components and processes involved in reading—they have adequate decoding and reading fluency skills, content-specific vocabulary knowledge, and background knowledge of the subject matter. Yet, when they read a text orally or silently, they do not comprehend what they are reading. Self-monitoring/questioning is a metacognitive strategy in which readers actively monitor whether or not they understand what they are reading. If they encounter a problem, they immediately seek to repair comprehension by self-questioning and rereading as necessary.
Correct Response: B. (Objective 0003) The students in this scenario demonstrate proficiency in many key components and processes involved in reading—they have adequate decoding and reading fluency skills, content-specific vocabulary knowledge, and background knowledge of the subject matter. Yet, when they read a text orally or silently, they do not comprehend what they are reading. Self-monitoring/questioning is a metacognitive strategy in which readers actively monitor whether or not they understand what they are reading. If they encounter a problem, they immediately seek to repair comprehension by self-questioning and rereading as necessary.
Question 14
14. A theatre teacher would like to have students read a complex informational text that is closely related to the current unit of study. The teacher is aware that the text is written above the reading proficiency level of many students in the class. Which of the following approaches to using the text would be most effective in both making the text's content accessible to all students and promoting the students' content-area reading development?
- helping the students deconstruct the text's complex academic language and concepts during a whole-class close reading of the text
- preparing a detailed written outline of the text's key ideas and details for the students to read and study rather than assigning the original text
- selecting a different text that addresses more basic concepts and is written at a lower reading proficiency level, so the students can read it independently
- providing a detailed oral preview of the text's key concepts, having the students read the text silently, then providing an oral review of the concepts as reinforcement
Answer to question 14
- Answer Enter to expand or collapse answer. Answer expanded
- Correct Response: A. (Objective 0003) Close reading involves reading and rereading a complex text section by section, during which the teacher models and provides students with opportunities to practice key content-area reading skills, such as how to deconstruct syntactically complex sentences, use various word-learning strategies, and apply relevant comprehension strategies to unlock the meaning and evaluate the significance of the text's content.
Correct Response: A. (Objective 0003) Close reading involves reading and rereading a complex text section by section, during which the teacher models and provides students with opportunities to practice key content-area reading skills, such as how to deconstruct syntactically complex sentences, use various word-learning strategies, and apply relevant comprehension strategies to unlock the meaning and evaluate the significance of the text's content.
Question 15
15. A playwright is developing a script about a young woman who struggles through poverty and disappointment on her way to becoming a professional chef. Which of the following sources would most likely help the playwright develop a strong emotional connection to the script?
- a magazine article about a small-town chef who won a national cooking competition
- personal experience coping with challenging circumstances
- a classic novel about a poor orphan who suffers many hardships before finding happiness
- direct observation of a professional chef during a typical workday
Answer to question 15
- Answer Enter to expand or collapse answer. Answer expanded
- Correct Response: B. (Objective 0004) Playwrights often plumb their personal experiences and histories when developing ideas for and writing scripts. In the example provided, a playwright would likely develop a strong emotional connection to the script by tapping into the emotional experience of having struggled him- or herself and coped with challenging circumstances.
Correct Response: B. (Objective 0004) Playwrights often plumb their personal experiences and histories when developing ideas for and writing scripts. In the example provided, a playwright would likely develop a strong emotional connection to the script by tapping into the emotional experience of having struggled him- or herself and coped with challenging circumstances.
Question 16
16. A playwright meets with a writing group each week and receives a direct critique from the participants. Which of the following techniques is most effective for receiving feedback in this manner?
- listening silently and writing down comments for later review
- rebutting each comment by explaining intentions
- acknowledging which comments are helpful and which are not
- asking people for specific examples to go with each comment
Answer to question 16
- Answer Enter to expand or collapse answer. Answer expanded
- Correct Response: A. (Objective 0004) When receiving verbal feedback, a playwright does not need to do anything more than listen attentively, take appropriate notes, and thank each person for their remarks. Because it can be so difficult to give and receive constructive criticism, it is important to avoid negating the feedback with a defensive reaction. Revisiting the notes later allows a writer to process the feedback and decide which comments are useful.
Correct Response: A. (Objective 0004) When receiving verbal feedback, a playwright does not need to do anything more than listen attentively, take appropriate notes, and thank each person for their remarks. Because it can be so difficult to give and receive constructive criticism, it is important to avoid negating the feedback with a defensive reaction. Revisiting the notes later allows a writer to process the feedback and decide which comments are useful.
Question 17
17. A young playwright is writing a play called The Mystery of the Stolen Notebook. Which of the following plot points would most likely serve as the inciting incident in the play's dramatic structure?
- Feliz describes the contents of her missing notebook to her best friend.
- A teacher sneaks Feliz into the teacher's lounge to reveal a large stash of hidden notebooks.
- Feliz returns to her locker after class to discover her favorite notebook is missing.
- The principal suspends Feliz for wearing a disguise to school during her search for the notebook.
Answer to question 17
- Answer Enter to expand or collapse answer. Answer expanded
- Correct Response: C. (Objective 0004) The inciting incident is the event that sets the main plot into action. Many plays begin in a state of relative calm, until a conflict leads the protagonist to act and sets off a chain of events that takes the play through the rising action, climax, and resolution. In a play about a stolen notebook, the plot would likely be set in motion by the main character finding that her notebook is missing.
Correct Response: C. (Objective 0004) The inciting incident is the event that sets the main plot into action. Many plays begin in a state of relative calm, until a conflict leads the protagonist to act and sets off a chain of events that takes the play through the rising action, climax, and resolution. In a play about a stolen notebook, the plot would likely be set in motion by the main character finding that her notebook is missing.
Question 18
18. A college theatre student is interested in playwriting but is having a difficult time generating ideas. Which of the following activities would be most helpful in this situation?
- carrying a recording device at all times to document thoughts, snippets of conversation, and compelling images
- setting aside a regular block of time to sit and think of stories that have not been told by other writers
- reading a selection of prize-winning plays and taking notes on the most interesting characters and plot elements
- soliciting suggestions from friends and using the first suggestion that is sufficiently dramatic
Answer to question 18
- Answer Enter to expand or collapse answer. Answer expanded
- Correct Response: A. (Objective 0004) Inspiration strikes at unexpected moments. When looking for ideas, a beginning writer should make a practice of carrying a pen and paper or other recording device to record ideas and sources of inspiration as they occur. Some writers take it a step further and stash notebooks on their bedside tables, in their cars, and anywhere else they might be useful.
Correct Response: A. (Objective 0004) Inspiration strikes at unexpected moments. When looking for ideas, a beginning writer should make a practice of carrying a pen and paper or other recording device to record ideas and sources of inspiration as they occur. Some writers take it a step further and stash notebooks on their bedside tables, in their cars, and anywhere else they might be useful.
Question 19
19. Which of the following elements is standard to include at the beginning of a playscript?
- a biographical paragraph about the author
- a list of characters
- a sketch of the set design
- a complete list of props used in the show
Answer to question 19
- Answer Enter to expand or collapse answer. Answer expanded
- Correct Response: B. (Objective 0004) The beginning of a script typically includes a list of characters and scenes and information on the setting and the time. Other details such as a prop list or set design sketches are sometimes included as an appendix.
Correct Response: B. (Objective 0004) The beginning of a script typically includes a list of characters and scenes and information on the setting and the time. Other details such as a prop list or set design sketches are sometimes included as an appendix.
Question 20
20. A playwright has formatted an excerpt from a script that appears below.
start excerpt, heading, all caps, centered SIMMER, COVERED end heading, double line space
new paragraph, title case, centered, underlined Characters end paragraph, double line space
new paragraph, title case, aligned left
start line Shondra, a middle-aged marketing director. end line
start line, single line space Minh, a middle-aged stay-at-home dad and Shondra's husband. end line
start line, single line space Nelly, the two-year-old daughter of Shondra and Minh. end line
start line, single line space Tanya, Shondra's elderly mother. end line
start line, single line space Julio, Shondra's elderly father. end line, end paragraph, double line space
new paragraph, title case, aligned left Setting: The play takes place in the dining room and kitchen of Shondra and Minh's house. Center stage is a door. Through it we can see the kitchen. end paragraph, double line space
new paragraph, title, title case, centered, underlined Act I, Scene 1 end title
new line, single line space, title case, aligned left A summer evening. Minh sets the dining room table as Nelly drinks milk in a high chair at the table. Shondra, Tanya, and Julio are in the kitchen. end paragraph, double line space
new paragraph, title, all caps, centered SHONDRA end title
new line, single line space, title case, aligned left (Opens the lid of a large pot on the stove.) end line
new line, single line space, title case, aligned left Supper's almost ready! end line, end paragraph, double line space
new paragraph, title, all caps, centered TANYA end title
new line, single line space, title case, aligned left (Walks across the kitchen and looks over Shondra's shoulder.) end line
new line, single line space, title case, aligned left What's cookin? end line, end paragraph, double line space
new paragraph, title, all caps, centered SHONDRA end title
new line, single line space, title case, aligned left Cauliflower stew with couscous. end line, end paragraph, double line space
new paragraph, title, all caps, centered JULIO end title
new line, single line space, title case, aligned left (Walks across the kitchen and looks over Shondra's shoulder.) end line
new line, single line space, title case, aligned left Sounds delicious, Shon! end line, end paragraph, end excerpt
Which of the following changes should the playwright make to correct a formatting error in the excerpt?
- capitalizing only the first letter of each word in the title
- using double spaces for all text
- placing the setting description after the scene description
- indenting the stage directions
Answer to question 20
- Answer Enter to expand or collapse answer. Answer expanded
- Correct Response: D. While the formatting of plays is not set in stone, there are some widely held conventions. Stage directions, which are placed in parentheses, should be indented from the left side of the page. In the excerpt, the stage directions are left-aligned.
Correct Response: D. While the formatting of plays is not set in stone, there are some widely held conventions. Stage directions, which are placed in parentheses, should be indented from the left side of the page. In the excerpt, the stage directions are left-aligned.
Question 21
21. A director should consider precasting a role when it:
- covers intense, emotional terrain as well as lighthearted banter.
- features only a handful of lines and a handful of scenes.
- requires a type of performer who is unlikely to be found at auditions.
- calls on the actor to interact directly with the audience.
Answer to question 21
- Answer Enter to expand or collapse answer. Answer expanded
- Correct Response: C. (Objective 0005) When a production requires a type of performer who is unlikely to be found at auditions, it is a good idea for the director to precast the role. Examples would include a role for a performer with an uncommon age or body type or one that requires someone with a specific skill set, such as specialized dance or musical ability.
Correct Response: C. (Objective 0005) When a production requires a type of performer who is unlikely to be found at auditions, it is a good idea for the director to precast the role. Examples would include a role for a performer with an uncommon age or body type or one that requires someone with a specific skill set, such as specialized dance or musical ability.
Question 22
22. A director is rehearsing a family dinner scene that features eight actors sitting around a rectangular table. The table is positioned such that one long side of it faces the audience. Which of the following approaches would be most effective for blocking this scene for a proscenium stage?
- instructing actors to stand up and cheat toward the audience when speaking
- arranging the lead actors on the side of the table facing the audience
- asking downstage actors to sit as low as possible in their seats
- finding moments in the script for actors to get out of their seats and occupy different levels
Answer to question 22
- Answer Enter to expand or collapse answer. Answer expanded
- Correct Response: D. (Objective 0005) Staging a family dinner scene can be a surprising challenge for a director. While it may seem as simple as having the actors sit around a table and perform the scene as written, this results in at least half the actors with their backs to the audience. The most natural solution is to find bits of stage business and moments in the text that bring the actors out of their static positions around the table.
Correct Response: D. (Objective 0005) Staging a family dinner scene can be a surprising challenge for a director. While it may seem as simple as having the actors sit around a table and perform the scene as written, this results in at least half the actors with their backs to the audience. The most natural solution is to find bits of stage business and moments in the text that bring the actors out of their static positions around the table.
Question 23
23. A director is preparing to begin rehearsals on a new adaptation of Hedda Gabler. Which of the following techniques is most effective for communicating the production concept to the actors?
- beginning the first rehearsal with a short presentation that includes any music, art, or photos that inspired the production concept
- posting the production concept in the rehearsal space and inviting the cast to look it over during breaks
- initiating an e-mail discussion about the production concept with the cast and crew prior to the beginning of the rehearsal period
- revealing bits of the production concept throughout the rehearsal process as an incentive for actors to make discoveries on their own
Answer to question 23
- Answer Enter to expand or collapse answer. Answer expanded
- Correct Response: A. (Objective 0005) The first rehearsal is an ideal time to present the production concept to the actors and share anything that served an as influence. This is an opportunity for the director to build excitement for the rehearsal process and ensure that everyone in the cast is beginning the journey from the same place.
Correct Response: A. (Objective 0005) The first rehearsal is an ideal time to present the production concept to the actors and share anything that served an as influence. This is an opportunity for the director to build excitement for the rehearsal process and ensure that everyone in the cast is beginning the journey from the same place.
Question 24
24. Theatre directors need to have primarily which of the following skills?
- artistic and managerial
- acting and writing
- accounting and interpersonal
- research and fundraising
Answer to question 24
- Answer Enter to expand or collapse answer. Answer expanded
- Correct Response: A. (Objective 0005) The theatre director's job is multi-faceted. He or she is at the center of a group of people working toward a successful, unified production. The artistic components of the job include selecting or approving the play, interpreting the play, coordinating and approving designs, and coaching actors. The managerial aspects of the job include planning and coordinating the production, scheduling and coordinating rehearsals, and serving as a liaison for all members of the production team.
Correct Response: A. (Objective 0005) The theatre director's job is multi-faceted. He or she is at the center of a group of people working toward a successful, unified production. The artistic components of the job include selecting or approving the play, interpreting the play, coordinating and approving designs, and coaching actors. The managerial aspects of the job include planning and coordinating the production, scheduling and coordinating rehearsals, and serving as a liaison for all members of the production team.
Question 25
25. A theatre director is likely to use which of the following stages of rehearsal to gain insights into the broad movements and progressions of the production?
- read-through
- French scenes
- run-throughs
- dress rehearsal
Answer to question 25
- Answer Enter to expand or collapse answer. Answer expanded
- Correct Response: C. (Objective 0005) A run-through is a rehearsal of an entire act or an entire play. After the first read-through of the entire play, rehearsals usually take shape in small units, such as French scenes, which are scenes that occur between the entrance and exit of a major character. Run-throughs typically follow the detailed work of rehearsals in small units. They are an opportunity for directors to assess how the production is progressing in a broad sense.
Correct Response: C. (Objective 0005) A run-through is a rehearsal of an entire act or an entire play. After the first read-through of the entire play, rehearsals usually take shape in small units, such as French scenes, which are scenes that occur between the entrance and exit of a major character. Run-throughs typically follow the detailed work of rehearsals in small units. They are an opportunity for directors to assess how the production is progressing in a broad sense.
Question 26
26. An actor is mapping out a character's objectives for a scene. Which of the following objective statements creates the strongest action for the actor to play?
- I want to make her happy.
- I want to convince her that I am in love.
- I want to tell her how I feel.
- I want to get married.
Answer to question 26
- Answer Enter to expand or collapse answer. Answer expanded
- Correct Response: B. (Objective 0006) An actor should choose objectives that are correct for the scene, actable, and strongly worded. The objective "to convince" provides a strong and playable action for the actor to play.
Correct Response: B. (Objective 0006) An actor should choose objectives that are correct for the scene, actable, and strongly worded. The objective "to convince" provides a strong and playable action for the actor to play.
Question 27
27. Compared to American method acting, British classical acting places a greater emphasis on:
- emotional realism.
- improvisation.
- technical precision.
- naturalistic vocal delivery.
Answer to question 27
- Answer Enter to expand or collapse answer. Answer expanded
- Correct Response: C. (Objective 0006) Although the two styles have begun to intersect, British classical acting continues to emphasize technical training and script analysis over the method techniques of building a character from the inside out.
Correct Response: C. (Objective 0006) Although the two styles have begun to intersect, British classical acting continues to emphasize technical training and script analysis over the method techniques of building a character from the inside out.
Question 28
28. A Grotowski-based approach to actor training would most likely include which of the following exercises?
- working through a rigorous sequence of undulations, kicks, and body rotations
- passing a sound and gesture around a circle and having each person change it in some way
- walking through the space at various speeds while following a grid that is taped to the floor
- laying on the ground and visualizing each of the elements of a perfect performance
Answer to question 28
- Answer Enter to expand or collapse answer. Answer expanded
- Correct Response: A. (Objective 0006) Polish theatre practitioner Jerzy Grotowski's exercises were designed to push participants to their physical and emotional limits. The "Cat" is one of the most famous of these and includes an extended sequence of undulations, stretches, kicks, and body rotations that the performers are encouraged to inhabit as fully as possible.
Correct Response: A. (Objective 0006) Polish theatre practitioner Jerzy Grotowski's exercises were designed to push participants to their physical and emotional limits. The "Cat" is one of the most famous of these and includes an extended sequence of undulations, stretches, kicks, and body rotations that the performers are encouraged to inhabit as fully as possible.
Question 29
29. Two actors are performing a scene that includes a slap to the face. Which of the following techniques is the most controlled way for the aggressor to execute this movement?
- stopping just short of the partner's face while distracting the audience with a vocal exclamation
- tensing the hand in a flat position and pulling back as soon as contact is made
- cupping the hand and directing the action directly over the partner's cheekbone
- using a knap and a set body position to create the illusion of the action without making contact
Answer to question 29
- Answer Enter to expand or collapse answer. Answer expanded
- Correct Response: D. (Objective 0006) When executing stage combat, it is important to avoid unnecessary contact. An actual slap to the face can lead to injury and will often be anticipated by the actor receiving the slap. Using knaps—techniques in which sound effects are created when actors lightly slap a part of the body—allows the actors to focus on the emotional reality of the scene without worrying about causing or receiving pain.
Correct Response: D. (Objective 0006) When executing stage combat, it is important to avoid unnecessary contact. An actual slap to the face can lead to injury and will often be anticipated by the actor receiving the slap. Using knaps—techniques in which sound effects are created when actors lightly slap a part of the body—allows the actors to focus on the emotional reality of the scene without worrying about causing or receiving pain.
Question 30
30. Which of the following aspects of the rehearsal period is most important for actors?
- solving problems creatively
- learning lines
- getting comfortable in costume
- repeating movements
Answer to question 30
- Answer Enter to expand or collapse answer. Answer expanded
- Correct Response: A. (Objective 0006) During the rehearsal process, actors learn lines, get comfortable in their costumes, and repeat the movements and blocking that they will do in performance, among other things. It is most important for actors to solve problems creatively with regard to their characters as well as creatively solve problems with the other actors. Actors experiment during rehearsals, giving enough for other actors to react to or play against, and asking other actors to give of their characters. This type of creative problem solving has the goal of making connections in order to discover character, which is of utmost importance in rehearsals.
Correct Response: A. (Objective 0006) During the rehearsal process, actors learn lines, get comfortable in their costumes, and repeat the movements and blocking that they will do in performance, among other things. It is most important for actors to solve problems creatively with regard to their characters as well as creatively solve problems with the other actors. Actors experiment during rehearsals, giving enough for other actors to react to or play against, and asking other actors to give of their characters. This type of creative problem solving has the goal of making connections in order to discover character, which is of utmost importance in rehearsals.
Question 31
31. Which of the following physical techniques would most likely enhance an actor's ability to achieve adequate vocal projection?
- breathing through the nose
- raising the shoulders
- flexing the muscles of the neck
- relaxing the lower jaw
Answer to question 31
- Answer Enter to expand or collapse answer. Answer expanded
- Correct Response: D. (Objective 0007) Vocal projection in theatre refers to the voice projecting from the actor and filling the theatre so that the actor can be heard by the audience. Tension in the lower jaw tends to result in a lower, softer speaking voice that also stifles resonance. Releasing tension in the lower jaw allows for freer action of the vocal chords, ampler resonance, and greater vocal projection as a result.
Correct Response: D. (Objective 0007) Vocal projection in theatre refers to the voice projecting from the actor and filling the theatre so that the actor can be heard by the audience. Tension in the lower jaw tends to result in a lower, softer speaking voice that also stifles resonance. Releasing tension in the lower jaw allows for freer action of the vocal chords, ampler resonance, and greater vocal projection as a result.
Question 32
32. Theatre teachers who train actors using the Alexander technique provide actors with the skills to:
- find a quick connection with other actors in ensemble scenes.
- reduce tension and physical habits that can detract from a character.
- perform and self-assess a performance simultaneously.
- access raw emotion during a performance.
Answer to question 32
- Answer Enter to expand or collapse answer. Answer expanded
- Correct Response: B. (Objective 0007) The Alexander technique helps actors identify bodily tension and inefficient movement habits that can cause problems during performance. It can be used to free up the voice, improve posture and alignment, and increase an actor's range of motion.
Correct Response: B. (Objective 0007) The Alexander technique helps actors identify bodily tension and inefficient movement habits that can cause problems during performance. It can be used to free up the voice, improve posture and alignment, and increase an actor's range of motion.
Question 33
33. An understanding of the International Phonetic Alphabet will help an actor with which of the following aspects of vocal production?
- protecting the voice during heavy use
- mastering a variety of dialects
- matching tones when choral speaking
- stretching the diaphragm
Answer to question 33
- Answer Enter to expand or collapse answer. Answer expanded
- Correct Response: B. (Objective 0007) The International Phonetic Alphabet was invented by linguists to offer a standardized way of representing the sounds of spoken language. It is a valuable tool for actors learning the sound substitutions for accents and dialects.
Correct Response: B. (Objective 0007) The International Phonetic Alphabet was invented by linguists to offer a standardized way of representing the sounds of spoken language. It is a valuable tool for actors learning the sound substitutions for accents and dialects.
Question 34
34. In an actor's warm-up, a spine roll serves which of the following purposes?
- waking up the voice
- protecting the wrists and ankles
- realigning the body
- raising the heart rate
Answer to question 34
- Answer Enter to expand or collapse answer. Answer expanded
- Correct Response: C. (Objective 0007) The spine roll is one of the most widely used physical warm-ups for actors. It helps an actor find alignment by dropping the chin to the chest and then rolling the spine downward until the hands are dangling as close as possible to the floor. During the roll-up, the actor is asked to imagine each vertebrae being placed gently on top of the one that came before.
Correct Response: C. (Objective 0007) The spine roll is one of the most widely used physical warm-ups for actors. It helps an actor find alignment by dropping the chin to the chest and then rolling the spine downward until the hands are dangling as close as possible to the floor. During the roll-up, the actor is asked to imagine each vertebrae being placed gently on top of the one that came before.
Question 35
35. The rhythm that an actor chooses when performing dialogue is most influenced by which of the following elements?
- the theme of the play
- the objectives of the character
- the time of day in the scene
- the personality of the character
Answer to question 35
- Answer Enter to expand or collapse answer. Answer expanded
- Correct Response: D. (Objective 0007) Rhythm is one of an actor's primary tools for conveying a character's unique personality. One character might be neurotic and spit out words with anxious energy, while another might be carefree and speak at a much more laid-back pace.
Correct Response: D. (Objective 0007) Rhythm is one of an actor's primary tools for conveying a character's unique personality. One character might be neurotic and spit out words with anxious energy, while another might be carefree and speak at a much more laid-back pace.
Question 36
36. Yoga is often practiced by actors in order to develop primarily which of the following aspects of acting?
- rhythm
- breath control
- visualization
- vocal range
Answer to question 36
- Answer Enter to expand or collapse answer. Answer expanded
- Correct Response: B. (Objective 0007) Yoga is a physical and mental discipline that uses a series of poses to develop strength, flexibility, balance, and breath control, along with focusing on mind-body connections. Breathing techniques are an important part of yoga practice, and various breathing exercises develop breath control.
Correct Response: B. (Objective 0007) Yoga is a physical and mental discipline that uses a series of poses to develop strength, flexibility, balance, and breath control, along with focusing on mind-body connections. Breathing techniques are an important part of yoga practice, and various breathing exercises develop breath control.
Question 37
37. An elementary school teacher would like to use theatre games to help students develop logical thinking skills. Which of the following theatre games would be most appropriate for this purpose?
- Two students improvise a scene until a third student says "Freeze!" and the students stop the scene. The third student replaces one of the two students and changes the scenario.
- Small groups of students develop and perform short skits into which they must incorporate three unrelated objects as elements in a sequential narrative.
- One student begins a pantomime. A second student joins in by performing the same action or a related action. One by one, the other students in the class join the pantomime.
- One student calls out a setting, such as "desert," "jungle," or "swamp," and the rest of the students in the class move as if they are walking through the setting.
Answer to question 37
- Answer Enter to expand or collapse answer. Answer expanded
- Correct Response: B. (Objective 0008) Logical thinking involves discerning truth and relationships between facts, reasoning deductively, solving problems, and making sensible decisions based on presented phenomena. Sequential thought is a key component of logical thinking. It involves arranging facts in a progression. Asking students to develop a sequential narrative with stimuli—three unrelated objects—would help them organize information in steps.
Correct Response: B. (Objective 0008) Logical thinking involves discerning truth and relationships between facts, reasoning deductively, solving problems, and making sensible decisions based on presented phenomena. Sequential thought is a key component of logical thinking. It involves arranging facts in a progression. Asking students to develop a sequential narrative with stimuli—three unrelated objects—would help them organize information in steps.
Question 38
38. Which of the following tasks is more likely to be found in production-centered drama activities than in process-centered drama activities?
- exploring a space through movement
- memorizing lines
- improvising in small groups
- playing a game
Answer to question 38
- Answer Enter to expand or collapse answer. Answer expanded
- Correct Response: B. (Objective 0008) Because production-centered drama activities culminate in a rehearsed performance, memorizing lines is often necessary. Process-centered drama, on the other hand, is exploratory/improvisational and does not require formal acting skills.
Correct Response: B. (Objective 0008) Because production-centered drama activities culminate in a rehearsed performance, memorizing lines is often necessary. Process-centered drama, on the other hand, is exploratory/improvisational and does not require formal acting skills.
Question 39
39. Which of the following techniques is most effective for creating humor in an improvised scene?
- finding excuses for one character to tell jokes to another character
- making random comments that will surprise the other actors and the audience
- focusing on the story being told and the reality of the characters
- exaggerating reactions and facial expressions as broadly as possible
Answer to question 39
- Answer Enter to expand or collapse answer. Answer expanded
- Correct Response: C. (Objective 0008) Much of the humor in improvisation comes from developing a character and staying within the reality of the scene. While a joke may generate a quick laugh, a sustained scene with high stakes and a relatable situation will create the opportunity for multiple humorous moments.
Correct Response: C. (Objective 0008) Much of the humor in improvisation comes from developing a character and staying within the reality of the scene. While a joke may generate a quick laugh, a sustained scene with high stakes and a relatable situation will create the opportunity for multiple humorous moments.
Question 40
40. Which of the following creative drama activities would be most effective for developing ensemble skills in a group of second graders?
- Story Circle: Students sit in a circle and make up a story out loud, taking turns adding one or two words at a time.
- Name Dances: Students create short dances by spelling out the letters of their names using whole body movements.
- Silent Songs: Students take turns miming a musical performance while the class tries to guess what song they are singing.
- Walkabout: Students walk around the room while the teacher provides instructions to move in a way that's faster, slower, heavier, or lighter.
Answer to question 40
- Answer Enter to expand or collapse answer. Answer expanded
- Correct Response: A. (Objective 0008) Story Circle is an effective activity for developing ensemble skills. It not only involves students in working together to complete a single task, but it requires that each student listen closely to the contributions of others in order to participate.
Correct Response: A. (Objective 0008) Story Circle is an effective activity for developing ensemble skills. It not only involves students in working together to complete a single task, but it requires that each student listen closely to the contributions of others in order to participate.