Test Bank For Theatrical Design
and Produc�on An Introduc�on
to Scene Design and
Construc�on, Ligh�ng, Sound,
Costume, and Makeup 9th
Edi�on By Michael Gillete Rich
Dionne (All Chapters 100%
Original Verified A+ Grade)
,Chapter 1
Student name:__________
TRUE/FALSE - Write 'T' if the statement is true and 'F' if the statement is false.
1) A theatrical performance is the product of a great deal of organization, teamwork, talent, and
dedication.
⊚ true
⊚ false
2) The movement patterns, usually of actors, on the stage is termed load-in.
⊚ true
⊚ false
3) The moving of scenery and associated equipment into the theatre and their positioning
(setup) on the stage is termed blocking.
⊚ true
⊚ false
4) In a typical theatrical production company, the “artistic responsibility” organizational
structure chart serves the same purpose as the “work responsibility” flowchart.
⊚ true
⊚ false
5) For most plays, the last production meeting is usually held a month before the opening of the
production.
⊚ true
⊚ false
6) The development of advanced digital technologies and the reality that most professional
designers are working on more than one project at a time often necessitate that much of the
direct communication between members of the production design team take place over great
geographical distances.
⊚ true
⊚ false
7) Most playwrights set their plays in new and pristine environments.
⊚ true
⊚ false
Version 1 1
,Chapter 1
8) The properties director of a play, the jack-of-all-trades artisan, must be skilled in all phases
of property construction and have a thorough knowledge of construction techniques in wood,
plastic, metal, cloth, and other materials.
⊚ true
⊚ false
MULTIPLE CHOICE - Choose the one alternative that best completes the statement or
answers the question.
9) Which of the following is a statement attributed to Konstantin Stanislavski, founder of the
Moscow Art Theatre and developer of Method acting?
A) “The object of art is not to reproduce reality, but to create a reality of the same
intensity.”
B) “Great art conceals art.”
C) “Creativity takes courage.”
D) “An artist is not paid for his labor but for his vision.”
10) A lighting instrument with a high-intensity narrow beam, mounted in a stand that allows it to
tilt and swivel so the beam can trail an actor is termed a_________.
A) follow spot
B) limelight
C) focus light
D) chaser beam
11) Which of the following statements is true of a play script?
A) Not all scripts are read by the production design team.
B) The director of the play typically develops the script.
C) The script usually stays true to its original meaning.
D) Not all theatrical productions begin with a script.
12) The production concept, or approach, is the
A) plan for casting the performers and other skilled technical personnel for the play.
B) financial plan of the play, with detailed budgetary allocations for all the aspects of the
play.
C) central creative idea that unifies the artistic vision of the producer, director, and
designers.
D) the playwright’s preliminary vision of how the play will shape up on completion.
Version 1 2
, Chapter 1
13) An extra or a walk-on actor, normally not called for in the script, used in a play’s production
is called a_________.
A) hypothetical
B) model
C) live prop
D) supernumerary
14) In a play set of an old Persian village, actors dressed up as Persian farmers and traders sat in
the auditorium among the audience. Additional extras, also dressed as regular Persian
citizens, were present around the stage throughout the play. The viewers felt as if they were
part of the play being performed. This play’s production approach employed_________ to
portray reality.
A) supernumeraries
B) models
C) superbeings
D) live props
15) A directive for action in the production of a play, for example, a change in the lighting, is
termed a_________.
A) cue
B) call
C) hint
D) nod
16) In the context of technical rehearsals, identify a common element between shift rehearsals
and lighting rehearsals.
A) Both rehearsals are performed with the secondary characters and junior actors.
B) Both rehearsals are performed with the main characters.
C) Both rehearsals are performed in the absence of the actors.
D) Both rehearsals are performed a day prior to the actual live staging of the play.
17) Traditionally, unionized productions have
A) eight hours of rehearsal in a twelve-hour period.
B) twelve hours of rehearsal in a twenty-four-hour period.
C) ten hours of rehearsal in a twelve-hour period.
D) six hours of rehearsal in a ten-hour period.
Version 1 3
and Produc�on An Introduc�on
to Scene Design and
Construc�on, Ligh�ng, Sound,
Costume, and Makeup 9th
Edi�on By Michael Gillete Rich
Dionne (All Chapters 100%
Original Verified A+ Grade)
,Chapter 1
Student name:__________
TRUE/FALSE - Write 'T' if the statement is true and 'F' if the statement is false.
1) A theatrical performance is the product of a great deal of organization, teamwork, talent, and
dedication.
⊚ true
⊚ false
2) The movement patterns, usually of actors, on the stage is termed load-in.
⊚ true
⊚ false
3) The moving of scenery and associated equipment into the theatre and their positioning
(setup) on the stage is termed blocking.
⊚ true
⊚ false
4) In a typical theatrical production company, the “artistic responsibility” organizational
structure chart serves the same purpose as the “work responsibility” flowchart.
⊚ true
⊚ false
5) For most plays, the last production meeting is usually held a month before the opening of the
production.
⊚ true
⊚ false
6) The development of advanced digital technologies and the reality that most professional
designers are working on more than one project at a time often necessitate that much of the
direct communication between members of the production design team take place over great
geographical distances.
⊚ true
⊚ false
7) Most playwrights set their plays in new and pristine environments.
⊚ true
⊚ false
Version 1 1
,Chapter 1
8) The properties director of a play, the jack-of-all-trades artisan, must be skilled in all phases
of property construction and have a thorough knowledge of construction techniques in wood,
plastic, metal, cloth, and other materials.
⊚ true
⊚ false
MULTIPLE CHOICE - Choose the one alternative that best completes the statement or
answers the question.
9) Which of the following is a statement attributed to Konstantin Stanislavski, founder of the
Moscow Art Theatre and developer of Method acting?
A) “The object of art is not to reproduce reality, but to create a reality of the same
intensity.”
B) “Great art conceals art.”
C) “Creativity takes courage.”
D) “An artist is not paid for his labor but for his vision.”
10) A lighting instrument with a high-intensity narrow beam, mounted in a stand that allows it to
tilt and swivel so the beam can trail an actor is termed a_________.
A) follow spot
B) limelight
C) focus light
D) chaser beam
11) Which of the following statements is true of a play script?
A) Not all scripts are read by the production design team.
B) The director of the play typically develops the script.
C) The script usually stays true to its original meaning.
D) Not all theatrical productions begin with a script.
12) The production concept, or approach, is the
A) plan for casting the performers and other skilled technical personnel for the play.
B) financial plan of the play, with detailed budgetary allocations for all the aspects of the
play.
C) central creative idea that unifies the artistic vision of the producer, director, and
designers.
D) the playwright’s preliminary vision of how the play will shape up on completion.
Version 1 2
, Chapter 1
13) An extra or a walk-on actor, normally not called for in the script, used in a play’s production
is called a_________.
A) hypothetical
B) model
C) live prop
D) supernumerary
14) In a play set of an old Persian village, actors dressed up as Persian farmers and traders sat in
the auditorium among the audience. Additional extras, also dressed as regular Persian
citizens, were present around the stage throughout the play. The viewers felt as if they were
part of the play being performed. This play’s production approach employed_________ to
portray reality.
A) supernumeraries
B) models
C) superbeings
D) live props
15) A directive for action in the production of a play, for example, a change in the lighting, is
termed a_________.
A) cue
B) call
C) hint
D) nod
16) In the context of technical rehearsals, identify a common element between shift rehearsals
and lighting rehearsals.
A) Both rehearsals are performed with the secondary characters and junior actors.
B) Both rehearsals are performed with the main characters.
C) Both rehearsals are performed in the absence of the actors.
D) Both rehearsals are performed a day prior to the actual live staging of the play.
17) Traditionally, unionized productions have
A) eight hours of rehearsal in a twelve-hour period.
B) twelve hours of rehearsal in a twenty-four-hour period.
C) ten hours of rehearsal in a twelve-hour period.
D) six hours of rehearsal in a ten-hour period.
Version 1 3
