,DOWNLOAD THE Test Bank for Essential Theatre 11th Edition Brockett
1. The mind and imagination of the spectator is where the final step in the process in theatre occurs.
a. imaginative
b. critical
c. creative
d. artistic
ANSWER: c
REFERENCES: A-Head: Introduction to Chapter 2
2. Theatre requires more between the director and the audience than does film.
a. engagement
b. discussion
c. interaction
d. collaboration
ANSWER: d
REFERENCES: A-Head: Experiencing a Performance
3. Because a theatrical performance is a(n) event, conditions surrounding and defining it play a role
in how the audience responds.
a. artistic
b. collaborative
c. entertaining
d. social
ANSWER: d
REFERENCES: A-Head: Experiencing a Performance
4. The typical audience member of a Broadway play is from the class.
a. well-to-do middle
b. working
c. drama
d. lower
ANSWER: a
REFERENCES: A-Head: Who Is the Audience?
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5. Most not-for-profit theatres in the United States are often said to attract spectators who are primarily
.
a. over 70 years old
b. under 12 years old
c. middle aged
d. adolescents
ANSWER: c
REFERENCES: A-Head: Who Is the Audience?
6. The Theatre Communication Group, Inc.’s “Free Night of Theatre” program is designed to help theatres .
a. get students into the theatre
b. provide tickets to poor people
c. attract new potential audience members and help theatres build their audience base
d. reduce the number of matinee performances
ANSWER: c
REFERENCES: A-Head: Who Is the Audience?
7. Some theatres have developed expansive websites for today’s online culture to provide information, often with an
emphasis on content.
a. visual
b. textual
c. audio
d. None of these choices is correct.
ANSWER: a
REFERENCES: A-Head: Who Is the Audience?
8. Developing a critical eye for theatre can be viewed as involving which three-step process?
a. Understanding the circumstances of the play, talking to others about the play, writing about the play
b. Reading reviews of a production, having a discussion with the dramatist, reading the play
c. Attending a staging of the play, talking to the director, talking to the playwright
d. Having the experience of the play, analyzing the experience, and then communicating one’s response to
another person
ANSWER: d
REFERENCES: A-Head: The Audience and Critical Perspective
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, DOWNLOAD THE Test Bank for Essential Theatre 11th Edition Brockett
9. Which of the following is NOT a type of critic mentioned in Chapter 2 of The Essential Theatre?
a. Bloggers
b. Newspaper
c. Tweeters
d. Television
ANSWER: c
REFERENCES: A-Head: The Audience and Critical Perspective
10. Which of the following is one of the core problems facing the critic?
a. Understanding
b. Effectiveness
c. Ultimate worth
d. All of these choices are correct.
ANSWER: d
REFERENCES: A-Head: The Audience and Critical Perspective
11. Which of these is NOT typically considered one of the basic questions the critic needs to answer?
a. What were the playwright, director, and other theatre artists trying to do?
b. How well did the playwright, director, and other theatre artists do what they were trying to do?
c. How valuable was the experience?
d. Is the experience of the play worth the cost of the ticket?
ANSWER: d
REFERENCES: A-Head: The Audience and Critical Perspective
12. There are many additional questions that an informed and perceptive reviewer can ask of the experience of
attending a production. Which choice below represents one of these additional questions listed in The Essential
Theatre?
a. Should others see the play? Why?
b. Did the playwright deserve to have the investment in this production of the play?
c. Did the actors remain true to the intent of the playwright?
d. Did the director remain true to the intent of the playwright?
ANSWER: a
REFERENCES: A-Head: The Basic Problems of Criticism
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1. The mind and imagination of the spectator is where the final step in the process in theatre occurs.
a. imaginative
b. critical
c. creative
d. artistic
ANSWER: c
REFERENCES: A-Head: Introduction to Chapter 2
2. Theatre requires more between the director and the audience than does film.
a. engagement
b. discussion
c. interaction
d. collaboration
ANSWER: d
REFERENCES: A-Head: Experiencing a Performance
3. Because a theatrical performance is a(n) event, conditions surrounding and defining it play a role
in how the audience responds.
a. artistic
b. collaborative
c. entertaining
d. social
ANSWER: d
REFERENCES: A-Head: Experiencing a Performance
4. The typical audience member of a Broadway play is from the class.
a. well-to-do middle
b. working
c. drama
d. lower
ANSWER: a
REFERENCES: A-Head: Who Is the Audience?
Cengage Learning Testing, Powered by Cognero Page 1
mynursytest.store
,DOWNLOAD THE Test Bank for Essential Theatre 11th Edition Brockett
5. Most not-for-profit theatres in the United States are often said to attract spectators who are primarily
.
a. over 70 years old
b. under 12 years old
c. middle aged
d. adolescents
ANSWER: c
REFERENCES: A-Head: Who Is the Audience?
6. The Theatre Communication Group, Inc.’s “Free Night of Theatre” program is designed to help theatres .
a. get students into the theatre
b. provide tickets to poor people
c. attract new potential audience members and help theatres build their audience base
d. reduce the number of matinee performances
ANSWER: c
REFERENCES: A-Head: Who Is the Audience?
7. Some theatres have developed expansive websites for today’s online culture to provide information, often with an
emphasis on content.
a. visual
b. textual
c. audio
d. None of these choices is correct.
ANSWER: a
REFERENCES: A-Head: Who Is the Audience?
8. Developing a critical eye for theatre can be viewed as involving which three-step process?
a. Understanding the circumstances of the play, talking to others about the play, writing about the play
b. Reading reviews of a production, having a discussion with the dramatist, reading the play
c. Attending a staging of the play, talking to the director, talking to the playwright
d. Having the experience of the play, analyzing the experience, and then communicating one’s response to
another person
ANSWER: d
REFERENCES: A-Head: The Audience and Critical Perspective
Cengage Learning Testing, Powered by Cognero Page 2
mynursytest.store
, DOWNLOAD THE Test Bank for Essential Theatre 11th Edition Brockett
9. Which of the following is NOT a type of critic mentioned in Chapter 2 of The Essential Theatre?
a. Bloggers
b. Newspaper
c. Tweeters
d. Television
ANSWER: c
REFERENCES: A-Head: The Audience and Critical Perspective
10. Which of the following is one of the core problems facing the critic?
a. Understanding
b. Effectiveness
c. Ultimate worth
d. All of these choices are correct.
ANSWER: d
REFERENCES: A-Head: The Audience and Critical Perspective
11. Which of these is NOT typically considered one of the basic questions the critic needs to answer?
a. What were the playwright, director, and other theatre artists trying to do?
b. How well did the playwright, director, and other theatre artists do what they were trying to do?
c. How valuable was the experience?
d. Is the experience of the play worth the cost of the ticket?
ANSWER: d
REFERENCES: A-Head: The Audience and Critical Perspective
12. There are many additional questions that an informed and perceptive reviewer can ask of the experience of
attending a production. Which choice below represents one of these additional questions listed in The Essential
Theatre?
a. Should others see the play? Why?
b. Did the playwright deserve to have the investment in this production of the play?
c. Did the actors remain true to the intent of the playwright?
d. Did the director remain true to the intent of the playwright?
ANSWER: a
REFERENCES: A-Head: The Basic Problems of Criticism
Cengage Learning Testing, Powered by Cognero Page 3
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