Introduction to Theater Chapter 8, 9, and West Side Story Test

Question 0

Is responsible for creating a team that will work cooperatively toward a common goal

Answer 0

Director

Question 1

A person who can envision the end product and be actively involved with the production as it takes place

Answer 1

Producer

Question 2

Serves as a liaison between the director and the cast and crew; sometimes they take charge of rehearsals at the request of the director

Answer 2

Assistant Director

Question 3

Writes notes from the director in the promptbook during rehearsals, including information on interpretation, movement, and positions. He can also clarify any questions concerning stage groupings, crosses, and changes

Answer 3

Prompter

Question 4

Settings, costumes, makeup, and lightning are the responsibilities of this person

Answer 4

Scenic Designer

Question 5

Oversee the design of costumes and lighting instead of the scenic designer. Executes the designs of the scenic designer

Answer 5

Technical Director

Question 6

The person who is completely in charge backstage during rehearsals and performances

Answer 6

Stage Manager

Question 7

A stagehand who moves scenery

Answer 7

Grip

Question 8

The person who is in charge of acquiring the props, storing them, arranging them on the set, preparing the prop table, and giving the actors the props they needed

Answer 8

Properties Chief

Question 9

The person responsible for the financial arrangements of a production

Answer 9

Business Manager

Question 10

The person who handles the advertising and promotion of a play in the press, on the radio, and in other media

Answer 10

Publicity Manager

Question 11

The person responsible for distribution of programs, seating of the audience, and training of the ushers

Answer 11

House Manager

Question 12

A script marked with directions and cues for use by the prompter

Answer 12

Promptbook

Question 13

A tryout for a position in a play

Answer 13

Audition

Question 14

A rehearsal at which the play is read by the director or by members of the cast

Answer 14

Reading Rehearsal

Question 15

A rehearsal at which the movement and groupings on the stage are practiced

Answer 15

Blocking Rehearsal

Question 16

A rehearsal at which interpretation of the play is devolved and words and actions are put together

Answer 16

Working Rehearsal

Question 17

The final rehearsal at which all parts of the play are brought together so that flaws can be worked out

Answer 17

Polishing Rehearsal

Question 18

Rehearsal at which lighting, scenery, and props are used so that changes go smoothly

Answer 18

Technical Rehearsal

Question 19

An uninterrupted rehearsal with the costumes and props; the final rehearsal before the first performance

Answer 19

Dress Rehearsal

Question 20

What is the purpose of a master production schedule?

Answer 20

The director must estimate the probable size of the audience and take into account sets and props that can be obtained without expense. Because scheduling is crucial for a smooth production, the director should set up a master production schedule

Question 21

Why is the promptbook “the backbone of a production”?

Answer 21

The promptbook is called the backbone of a production because it is necessary in order to make a play. This book contains the director’s plan and eventually the telephone numbers and addresses of everyone involved in the production.

Question 22

What information should be included in a résumé?

Answer 22

• an eight-by-ten-inch black and white headshot photograph of you as you appear offstage
• all the important information a casting director wants to know: name, address, phone number, type of voice (if you sing), vital statistics, experience, education, and professional training, and special skills.

Question 23

What information should be included in a budget?

Answer 23

• it must be set before proceeding further
• The director must estimate the probable size of the audience and take into account sets and props that can be obtained without expense.

Question 24

Why should curtain calls be rehearsed?

Answer 24

Curtain calls should be rehearsed because it is the appearance of a play’s cast in response to the audiences applause. It is the last impression that an audience has of a play of its curtain call.

Question 25

one of the oldest forms of musical theater. The voice and the orchestra are the only media performance, _________ is “total music”

Answer 25

Opera

Question 26

includes lighter music and the singer/actor speaks lines rather than sings them. Are usually built on light plots that serve only to connect one song to another

Answer 26

Operetta

Question 27

An offshoot of the straight operetta is the humorous and satirical is called __________

Answer 27

Comic Opera

Question 28

Another form of musical theater, usually consists of a loosely connected series of sometimes lavish production numbers with virtually no plot

Answer 28

Musical Revue

Question 29

Combines music and humor. It differs from comic opera in that the characters are more believable and the dialogue is clever

Answer 29

Musical Comedy

Question 30

A form of musical theater characterized by an increased emphasis on real people in real situations

Answer 30

Musical Play

Question 31

Also may also be played on the apron of the stage in front of the act curtain

Answer 31

Crossover

Question 32

The music played to cover the sound of scenery changes - if it becomes apparent that a shift cannot be completely quickly

Answer 32

Change Music

Question 33

Light parodies, are farcical and poke fun at a style of musical film

Answer 33

Spoof

Question 34

Difficult to produce successfully, especially in musical form. Critics criticized certain aspects of human behavior or society

Answer 34

Satire

Question 35

are built around a single theatrical idea

Answer 35

Concept Musical

Question 36

Shows all the fly lines and what is on each

Answer 36

Hanging Plot

Question 37

shows the wing areas and how the scenic units are to be stored during the show

Answer 37

Storage Plot

Question 38

Throws light on the performer from above and slightly upstage

Answer 38

Backlighting

Question 39

are garments such as vests, scarves, belts, and skirts that are made double-faced so that reversing one or more of these articles of clothing creates the illusion of a different costume

Answer 39

Reversibles

Question 40

Are separates or interchangeables

Answer 40

Coordinates

Question 41

A Small group of musicians/instrumentalists

Answer 41

Combo

Question 42

Why is staffing more difficult for a musical play than for a straight play?

Answer 42

Because a musical play usually needs a vocal director, an instrumental director, and a choreographer in addition to a play director, a costumer, a business manager, a technical director, and a publicity director. The play director, however, is in charge of the entire production.

Question 43

What questions should be addresses when selecting a musical for production?

Answer 43

Are the production costs within our budget limits? Do we have the staff to direct this show? Do we have the acting, scenery, musical, and lighting capabilities this shows requires? Do we have the time required to prepare this show? Will this musical play please the performers and the audience? Is this musical play suitable for high school production?

Question 44

Identify and describe explain some key performance principles for musicals.

Answer 44

stress the first beat if each measure, make the words intelligible, sing “through the eyes”, play out to the audience, keep the scene focused, be alive in character, play in a state of action, and enjoy yourself - and look it!

Question 45

What unique staging problems do musicals present?

Answer 45

some scenes must be played in front of a curtain or a drop, scenery painted on a piece of fabric that can be dropped like a curtain, on an eight- to ten-foot segment on stage while scenery is being changed. Another difficult in directing a musical play is teaching the performers to project over the underscore. Actors sometimes feel overwhelmed by the orchestra.

Question 46

A hopeless romantic and innocent Puerto Rican young girl. She falls in love with Tony and finds herself at the center of the violent conflict between the two gangs. Bernardo’s younger sister.

Answer 46

Maria

Question 47

Feisty and assertive Puerto Rican. She dispenses “older sister” advice to Maria and tries to shield her from the dangers of the gangs. Bernardo’s girlfriend and Maria’s friend.

Answer 47

Anita

Question 48

A proud, strong, handsome Puerto Rican man. Bernardo seeks to carve out territory as a sense of identity for he and his friends. Maria’s brother and Anita’s boyfriend. Leader of the Sharks.

Answer 48

Bernardo

Question 49

An angry and, at times, naive Puerto Rican Shark who turns murderous and vengeful. Suitor to Maria and friend of Bernardo’s.

Answer 49

Chino

Question 50

A romantic young man and former leader of the Jets, he has found a new lifestyle now that doesn’t involve gangs. Tony finds himself violently torn between his friendships and love. Falls in love with Maria and meets an unfortunate death. Genuinely sweet and sincere.

Answer 50

Tony

Question 51

A spritely, quick-tempered leader of the Jets. He seeks to eliminate the Sharks and establish his own gang’s dominance. Tony’s best friend, he is eventually murdered by Bernardo.

Answer 51

Riff

Question 52

The local beat cop. He has no patience for the gangs conflict and tries to keep tensions from erupting between them. A little dorky, he is regularly mocked by the local gangs.

Answer 52

Officer Krupke

Question 53

A local police detective frustrated by the ongoing violence between the Jets and Sharks. Blunt, brash, racist, and unapologetic.

Answer 53

Detective Schrank

Question 54

The adult owner of the store where the Jets hang out. He tries to guide the Jets youthful angst and provides a safe haven for Tony. Old fashioned and wise in his ways.

Answer 54

Doc