Place the appropriate number next to the item that most closely matches it. You may use choices more than once. Some options will not be used at all
___ murders children in revenge
___ |slammed a door and shocked an audience
___ a feeling of calm in the aftermath of great emotion
___ what Bertolt Brecht hoped to induce in his audiences
___ Arthur Miller
___ the world's first theater critic, he analyzed tragic drama
___ an actor alone on stage speaks thoughts out loud
___ "a tale told by an idiot, full of sound and fury, signifying nothing"
___ arrogance
___ Tartuffe
___ Waiting for Godot
___ Mrs. Squeamish and Lady Fidget
___ makes fun of a particular work or genre
___ the rules audiences are asked to accept
___ Death of a Salesman
1. Thornton Wilder
2. Samuel Beckett
3. Our Town
4. parody
5. Arthur Miller
6. Konstantin Stanislavsky
7. William Shakespeare
8. A View from the Bridge
9. catharsis
10. Chekhov
11. King Lear
12. Nora
13. alienation
14. Medea
15. soliloquy
16. Moliere
17. Aristotle
18. conventions
19. William Wycherley
20. hubris
21. expressionism
14, 12, 9, 13, 8, 17, 15, 7, 20, 16, 2, 19, 4, 18, 5
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In the apse fresco from San Clemente in Tahull, Spain, the drapery flutters and folds in a(n) ____________
was a pattern I guess.
If a singer-songwriter has a major recording contract, a copublishing deal with the label-affiliated publishing company might likely have this characteristic:
a. The artist gives up 50% of the writer’s income share to the publisher. b. The publisher gives up 50% of the publisher’s income share to the writer. c. The label gives up 25% of the label’s share to the writer and 25% to the publisher. d. The singer-songwriter gives up 100% of publishing income in exchange for 100% of performance royalties.
The instrumental ensemble that is prevalent throughout Indonesia is:
a. the gamelan b. Mariachi c. Klezmer d. Gagaku e. all of the above
What is the name of the theatre director who wrote the following? “I can take any empty space and call it a bare
stage. A man walks across this empty space whilst someone else is watching him, and this is all that is needed for an act of theatre to be engaged.”
a. Julie Taymor b. Eric Bentley c. Peter Brook d. John Millington Synge