THE 541 Exam Three Questions

27. English copyright law prohibited playwrights from borrowing source material from other works.

False

27. Playwrights chose to specialize in either religious or secular drama, and did not write both types of plays.

False

27. The Confrérie de la Passion presented religious plays in the Hôtel de Bourgogne.

False

27. The Italian Renaissance is best known for its great playwrighting.

False

28. Shakespeare joined other playwrights in adhering to the neoclassical rules.

False

29. Actors from commedia dell'arte were world renown for their ability to memorize entire full-length scripts quickly and exactly.

False

30. Phaedra was criticized for not adhering to the neoclassical rules.

False

30. Secular theatre emerged in the seventeenth century, about one hundred years after the religious theatre emerged.

False

30. The proscenium arch was a prominent feature of the Globe Theater.

False

30. Women were not allowed to perform in commedia dell'arte.

False

31. Lope de Rueda built the first permanent theater in Spain.

False

32. Starting in the Elizabethan theaters, food and drink were no longer allowed in the theater.

False

32. The Hôtel de Bourgogne is an example of a proscenium-arch theater.

False

33. Sebastiano called for a unity of stage scenery, so that all types of plays could be performed on the same stage.

False

34. Private theaters were large, outdoor theaters, which took advantage of natural daylight.

False

34. Women were not allowed to become shareholders in French acting companies.

False

35. Audiences sat in a darkened auditorium to fully appreciate the lighting and scenic designs.

False

35. Female dramatists in the Spanish Golden Age had their works produced widely and were immensely popular.

False

35. National theatres are generally praised for being innovative and revolutionary.

False

35. The Elizabethans used painted-perspective scenery in the private theaters.

False

25. ________________________, working together, excelled at writing dramas that were a mixture of serious and comic elements.

Francis Beaumont and John Fletcher

9. At Novissimo, __________________________ perfected the pole-and-chariot method of scene shifting. (great wizard)

Giacomo Torelli

rules of crown in 1572, suppression of Corpus Christi, creation of licences, censorship, sponsorship, treatises

Government Regulations

15. The _________________, completed in 1548, was the only permanent theater building in Paris for nearly a century.

Hôtel de Bourgogne

3. Under what circumstances were women allowed as actors in the Spanish theater (after 1599)?

If their husbands or fathers were members of the company.

17. The major builder of theaters during the Elizabethan age was

James Burbage

Founded Paris Opera in 1672, ended machine machine plays at other theatres in 1670s

Jean Baptist Lully

play that violates neoclassical ideas, and its controversy led to triumph of neoclassical theatre

Le Cid

former monastic lands seized by Henry VII in 1530sricha

Liberties

23. _______________ formulated the unities of time, place, and action and argued that theater was invented to "please the ignorant multitude."

Lodovico Castelvetro

7. One important figure in the development of secular theatre in Spain was

Lope de Rueda

4. ___________________________ was the most prolific writer of the Spanish Golden Age, having written 470¬ to 1500 plays.

Lope de Vega

24. Shakespeare was a member of the ___________________, for which he wrote most of his plays.

Lord Chamberlain's Men

Cape and Sword plays

Medias De Capa

9. According to your text, the finest French tragic actor of the late seventeenth century was

Michel Baron

25. __________________, a nun, wrote secular dramas that were probably produced at the palace of governmental officials.

Sor Juana Ines de la Cruz

21. ______________ was used in Elizabethan plays characters would describe the settings and verbally indicate what location they inhabited.

Spoken décor

14. _____________, by Molière caused a controversy because its title character is a religious hypocrite.

Tartuffe

18. The _______________ is significant because it is the prototype of the proscenium arch theatre.

Teatro Farnese

8. The oldest surviving theater constructed during the Italian Renaissance was the

Teatro Olimpico

2. At what theater were Shakespeare's plays produced (before the building burned in 1613)?

The Globe

26. Dramas were presented in schools during the Early part of the English Renaissance.

True

26. Italy was a strong influence on both politics and culture in France.

True

26. Religious dramas in Spain were originally produced inside churches and cathedrals as part of the service.

True

26. The invention of the printing press aided the spread of literature rediscovered from the past.

True

28. Autos sacramentales were forbidden in 1765, because they were deemed to reflect a carnival atmosphere rather than a religious one.

True

28. Court entertainment emerged in France in the last half of the sixteenth century.

True

28. The libretto, or text, of an opera is often secondary to the music.

True

29. By the mid-seventeenth century, a fixed platform was used at each playing space for the autos sacramentales.

True

29. Cardinal Richelieu promoted standards in French literature and the arts, which had a strong Italian influence.

True

29. In order to reconstruct events and practices of importance to theatre history, scholars consult primary sources, which are materials surviving from the period under study.

True

31. Commedia actors played the same stock characters through most of their careers.

True

31. Molière's contrived plots are frequently resolved by a deus ex machine.

True

31. Public theaters were built outside of the London city limits due to city leaders' opposition to theatre.

True

32. Comedias could contain both serious and comic elements.

True

32. The most successful commedia companies were organized by families.

True

33. A flag was flown from the top of the tiring house to announce that a performance was taking place.

True

33. It was customary to allow spectators onstage during the late seventeenth century, French neoclassical era.

True

33. Lope de Vega lived at the same time as Shakespeare, and wrote in a similar form.

True

34. Both Lope de Vega and Calderon de la Barca were ordained priests.

True

34. Flat wings were a series of individual wings on each side of the stage, parallel to the audience.

True

17. One type of comedia was the ___________, which had a daredevil romantic quality.

capa y espada

10. Religious plays of the Spanish Renaissance were mounted on

carros

22. Women attending the corrales sat in a separate gallery known as

cazuela

6. The full-length, secular dramas of the Spanish Golden Age were known as

comedias nuevas

24. One of the neoclassical ideals was _______________, which meant each character was expected to follow set behavior, which was deemed appropriate for their position in society.

decorum

21. The head of the acting company was the _____________, the actor with the longest service in the troupe.

doyen

18. In comedia, the intermission featured interludes known as

entermeses

19. Lope de Vega wrote in a(n) _____________ style.

episodical

16. The roof of Elizabethan theaters was called the ______________, and extended out from the tiring house.

heavens

13. A major movement in Renaissance literature was ________________, which focused on people rather than gods.

humanism

19. Elizabethan playwrights often wrote in __________________, meaning the verse has five beats to a line, with two syllables a beat and the accent on the second beat.

iambic pentameter

22. A problem posed by Serlio's angle-wing setting was

it was virtually impossible to shift scenes during a performance.

25. The Renaissance arrived in France ______________ the rest of Europe.

later than in

11. The ______________________________was an elaborate, professionally staged allegory which was written to praise the monarch.

masque

2. The nonreligious plays of the Spanish Golden Age were produced in public theaters known as

: Corrales

23. Which of the following is true of Elizabethan acting

A. Boys played women's roles., B. Actors played more than one role., C. Actors/characters spoke in verse., *D. All of the above

23. Which of the following is true of the Comédie Française?

A. Its interior had a horseshoe-shape construction., B. It was a converted tennis court., *C. Both A and B

24. Which of the following is true of audiences in French theaters

A. They included all strata of society., B. The parterre was only for men., C. They sometimes sat on the stage., *D. All of the above

4. Which of the following is true of private theaters in Elizabethan England?

A. They were indoors., B. They were smaller than the public theaters., C. They were more expensive than public theaters.,*D. All of the above

9. Which of the following is true of Calderon de la Barca's plays

A. They were religious., B. Love and honor are common themes., C. They were performed at court occasionally., *D. All of the above

25. Which of the following conventions did the neoclassicists oppose?

A. chorus, B. soliloquy, C. onstage violence, *D. all of the above

7. Which of the following can be found in The Spanish Tragedy?

A. episodic structure, B. ghosts, C. soliloquies, *D. All of the above

20. Rehearsals were supervised by the ____________in France.

A. playwright B. leading actor of the company, *C. either A or B

12. Before the Corpus Christi festival, actors performing the autos were required to give a preview performance for

A. the King, B. the city council, *C. Both A and B

20. Which of the following neoclassical ideals is present in such Shakespearean plays as Hamlet?

A. unity of place, B. complete separation of comic and tragic elements, C. use of a single plot, with no subplots, *D. none of the above

15. Which of the following neoclassical ideals did comedias observe

A. unity of place, B. unity of action, C. avoiding supernatural characters, *D. none of the above

5. Which of the following is true of Elizabethan theatrical costumes

Actors usually wore contemporary (Elizabethan) clothes on stage.

5. The man generally considered to be the first fully professional playwright in France was

Alexandre Hardy

24. Which of the following is true of Spanish acting troupes?

All troupes had to be licensed.

First women playwright to earn her living by writing, worked as government spy, wrote novels, very successful

Aphra Behn

2. ____________________________, married to Molière, was the leading actress in her husband's troupe.

Armande Béjart

1. ___________________________was the name given to any play presented at Corpus Christi.

Auto Sacramental

allegorical court dance

Ballet de Cour

10. Writing such works as Volpone and The Alchemist, ___________________________ was one of the first writers in England to champion the neoclassical rules.

Ben Johnson

13. The contemporary of Shakespeare's who sought to reform human behavior through the comedies he wrote was

Ben Jonson

1. The first significant dramatist to emerge in the Elizabethan period, ________________ established blank verse as the medium of dramatic expression.

Christopher Marlowe

8. ___________________________, a "university wit," was famous for his "mighty line," as seen in his Doctor Faustus.

Christopher Marlowe

comedy of manners

Comedias de Cosumbres

8. The __________________________ is a government-supported French National Theater and was formed when Louis XIV merged two earlier troupes.

Comédie Française

3. The ____________________________ was organized in Paris to present religious plays.

Confrérie de la Passion

First actor to play Faustus

Edward Alleyn

8. In form, Spanish plays were very similar to ____________________________ plays.

Elizabethan

20. Scenic conventions in Spain were most similar to practices in Renaissance

England

16. ____________________, which were housed in long, narrow buildings, were easily transformed into theaters in France.

Indoor tennis courts

12. _________________________brought Italian innovations in scene design to England.

Inigo Jones

15. The famous designer of English masques, who did scenery, costumes and special effects was

Inigo Jones

4. At the beginning of the seventeenth century, French Theatre was most similar to

Italian

17. ___________________ was the first proscenium-arch theater in France and accommodated almost 1,500 people.

Palais Cardinal

10. Which of the following statements is true of the French Theatre?

Performances were generally in the afternoon or early evening.

18. Giacomo Torelli transformed a royal palace, the _______________, into an Italian-style Theater.

Petit Bourbon

6. __________________________, by Jean Racine is one of the most famous French tragedies of all time.

Phaedra

12. Le Cid, by _______________ embroiled the author in a controversy involving adherence to neoclassical doctrine.

Pierre Corneille

13. In the mid-sixteenth century, a literary group known as the ____________ was formed to further writing and culture.

Pléiade

9. William Shakespeare wrote many of his plays with the leading actor, ____________________, in mind.

Richard Burbage

19. The Petit Bourbon was torn down and the ___________ was built in 1660, which became the largest theater in Europe.

Salle des Machines

20. ________________, in his book, Architettura, detailed many of the early methods for creating perspective settings.

Sebastiano Serlio

Elizabethan Theatre built by Henslowe in 1587, fourth of the public theatres built, and outside the jurisdiction of the city

The Rose Theatre

18. The most important private theater of the Elizabethan age was

The Second Blackfriars

7. The _________________________, a converted indoor tennis court, was competition for the Hôtel de Bourgogne.

Théâter du Marais

wrote four comedies but had lasting reputation, The old Bachelor, Love for Love, The Way of the World

William Congreve

Satirist of Restoration, Wrote witty, bawdy plays, borrowed from Moliere

William Wycherley

14. The author-manager of a troupe was known as the

autor

16. Spanish secular dramas would be closest to the ____________ of today.

melodramatic entertainment

21. The equivalent of the Elizabethan groundlings in Spain were the

mosqueterors

7. Renaissance scholars, in keeping with their desire to revive classical forms, believed they were recreating the Greek tragic style when they developed _________________.

opera

13. The Olives is an example of a short comic piece known as

pasos

22. French companies sometimes hired annually contracted actors known as

pensionnaires

12. One of the most important developments in the Italian Renaissance scene design was the introduction of ______________________________ drawing, whereby the set had the illusion of depth.

perspective

19. In Italian theatre, the raucous area where audience members stood on the house floor was the

pit

11. In the late sixteenth century, autos sacramentales were performed by

professional troupes

11. The _____________________________ is used as a framing device to restrict the view of the audience.

proscenium arch

21. Stages in the Renaissance were often _____________________, meaning they were slightly inclined or seated.

raked

6. Actors were provided with ______________________which contained the lines and cues of their parts, rather than full scripts.

sides

1. Shareholders in French acting companies were known as

sociétaires

5. The Spanish Renaissance made use of ________________________which is dialogue indicating locale.

spoken decor

22. By a decree of Queen Elizabeth, all plays and companies had to be licensed by

the master of revels

11. In France, the second stage which was raised from the main platform was known as the _________________________.

théâter superieure

3. The Elizabethan ___________________________functioned much like a Greek skene.

tiring house

2. One important ideal, known as _________________________, meant that all drama should be "true to life."

verisimilitude

14. In Elizabethan theaters, the lower class generally stood in the area known as the

yard

23. A unique Spanish court entertainment was the __________, a stylized musical drama.

zarzuela