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Theatre Brief 11th Edition Cohen Test Bank instant download all chapter
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Chapter 07
Theatre Traditions East and West
1. Historically, traditional drama began when
A. spoken drama was introduced into shamanistic rites.
B. rituals began to use theatrical elements like costumes and properties.
C. whole tribes of audiences began to gather to hear storytellers relate their tales.
D. dramatic competitions were introduced in Athens.
2. Ancient Egypt's Abydos Passion Play and other texts of that time employed plot elements that indicate they derived from
A. ritual forms that employed boats and other large nautical props.
B. storytelling forms that incorporated impersonation and built to a dramatic climax.
C. ancient reenactments of the coming of spring and celebration of rebirth.
D. ritualistic violence, combats, duels, and maiming.
3. The ancient Greek god of fertility, wine, agriculture, and sexuality was
A. Apollo.
B. Athena.
C. Mercury.
D. Dionysus.
5. What kind of sexualized, audacious, political, and scatological comedy was considered fit material for translation or
publication only in recent times?
A. old comedy
B. modern comedy
C. commedia dell’arte
D. renaissance comedy
10. A vomitoria is
A. an elaborately constructed house.
B. a tunnel entrance on both sides of the orchestra, or stage.
7-1
Copyright © 2016 McGraw-Hill Education. All rights reserved. No reproduction or distribution without the prior written consent
of McGraw-Hill Education.
C. the box on stage that appears to be a part of the scenery but which actually holds all the props needed for the play.
D. the platform segment which bears the stage planks.
13. Which Renaissance-era theatre building has been recently (1997) restored as a functioning performing space?
A. The mansion of Troy
B. The Skylark.
C. The Marlowe.
D. The Globe.
15. All of the following authors wrote for royal theatres EXCEPT
A. Pedro Calderón.
B. Jean Racine.
C. Shakespeare.
D. Molière.
18. Playwrights of the Romantic era include all of the following EXCEPT
A. Johann Wolfgang von Goethe.
B. Friedrich von Schiller.
C. Victor Hugo.
D. Pedro Calderón.
20. Which drama, whose name means "story play", originated in rural villages in the province of Kerala in the seventeenth
century and is based on any of thousands of stories from two great Indian epics, the Ramayana and the Mahabharata?
A. sakuntala
B. natyasastra
C. kathakali
7-2
Copyright © 2016 McGraw-Hill Education. All rights reserved. No reproduction or distribution without the prior written consent
of McGraw-Hill Education.
D. shivanu
23. What theatre type is a highly ceremonial musical and dance drama, of which the 240 texts produced today were written by
members of a single family five hundred years ago, and whose lines were designed to be sung rather than spoken?
A. kyogen
B. kabuki
C. no
D. bunraku
24. Which country is the home of the oldest continuous theatre tradition?
A. India
B. Indonesia
C. China
D. Vietnam
25. The most comprehensive and detailed theatrical treatise of the ancient world, detailing analyses of dramatic texts, the theatre
building, acting, staging, music, and even theatre-company organization, is
A. the Sanskrit Natyasastra, or "treatise on theatre" (begun in the second century a.d.).
B. Kalidasa Kundalini, the Zen of drama (written in Indonesia in 11 b.c.).
C. Tan Tien, the handbook of the Peking Opera (transmitted orally for hundreds of years but written down by Portuguese priests
in the twelfth century a.d.).
D. the Kabuki Nehru, written for directors and actors in Japan in 2000 b.c.
27. Aeschylus, Sophocles, and Euripides are the three masters of Greek tragedy.
TRUE
30. The work of Shakespeare and Ben Jonson in England and Machiavelli and commedia dell'arte in Italy are all examples of
Renaissance theatre.
TRUE
31. The excesses of Romanticism gave rise to melodrama and grand opera.
TRUE
32. The Royal era was characterized by the targeted audience of peasants, farmers and lower class citizens who enjoyed the
outdoor ambience of the theatre.
FALSE
33. The principles of the Romantic theatre were in reaction to the previous era's emphasis on rationality.
7-3
Copyright © 2016 McGraw-Hill Education. All rights reserved. No reproduction or distribution without the prior written consent
of McGraw-Hill Education.
TRUE
34. Performers in Chinese opera are adept at singing, speech, mime, acting, and acrobatics.
TRUE
36. Discuss how the ritualistic and storytelling origins of theatre are evident in Greek tragedy as well as dramas we see today.
Does the actor in our society still retain, in some ways, the functions of the shaman? Has technology taken over any of these
roles?
Answers will vary
37. Describe the theatre of the Middle Ages (medieval) and specifically the Quem Quaeritis. Are there any equivalents of this
type of theatre today?
Answers will vary
38. Briefly discuss the contributions of Shakespeare and his works to the theatre. Discuss all the roles Shakespeare played in the
theatre (actor, director, etc.)
Answers will vary
39. Imagine you want to produce a Shakespeare play in the tradition of kabuki and no theater combined. What questions/choices
would you have to make? Think of design as well as acting!
Answers will vary
7-4
Copyright © 2016 McGraw-Hill Education. All rights reserved. No reproduction or distribution without the prior written consent
of McGraw-Hill Education.
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faut l’avouer, merveilleux. A vingt-cinq louis, on pourra peut-être
s’entendre.
Comme le prince Vautour en question est employé dans une
maison rivale, on s’exclame et on s’esclaffe fort chez les Barbouchi,
mais Tunis n’a pas lieu de triompher si insolemment des méprises
de l’île de Malte, puisqu’il y a trois ans je ne sais quel aventurier,
sous mon propre nom, non seulement faisait de nombreuses dupes
de l’avenue de la Marine à la rue de la Kasbah ; pouff à l’hôtel de
Paris, escroqueries chez de nombreux marchands et toute la série
des notes en souffrance, mais arrivait encore à placer de la copie et
à la signer de mon nom dans la presse tunisienne, qui ne tarissait
pas d’éloges sur le cher confrère. Et pourtant, l’hiver précédent,
j’avais séjourné vingt jours à Tunis : c’est dire que j’y avais passé
inaperçu ! Si j’avais quelque vanité, quelle aventure mortifiante !…
inaperçu à Tunis, ô Parisiens cités des premières, petites célébrités
d’un soir, comment jamais reparaître sur le boulevard !
HALFAOUINE
Vendredi 14 janvier.
LE QUARTIER JUIF
Dix minutes après, dans la salle de l’hôtel de Carthage, Mme Baringhel et d’Héloé,
assis en tête à tête devant des punchs tunisiens (lisez grog très étendu
d’eau) ; la pluie tombe encore avec plus de violence.
Vendredi 21 janvier.