Deck 8: Theatrical Genres

Question 1

Plays that convey humanity's sense of alienation and its loss of bearings in an illogical, unjust, and ridiculous world are called theatres of

A) the absurd.
B) the ridiculous.
C) alienation.
D) the illogical.

Answer 1

the absurd.

Question 2

Which of the following is NOT a characteristic of comedy?

A) suspension of natural laws
B) turning the notion of things upside down
C) sense that the universe is cruel and unfeeling

Answer 2

sense that the universe is cruel and unfeeling

Question 3

The use of a word that sounds like the right word but actually is a different word altogether is the use of a(n)

A) epigram.
B) malaprop.
C) pun.
D) metaphor.

Answer 3

malaprop.

Question 4

A humorous use of words with the same sound but different meanings is the use of a(n)

A) epigram.
B) malaprop.
C) pun.
D) simile.

Question 5

Which of the following is NOT a technique of comedy?

A) verbal humor
B) comedy of character
C) plot complications
D) strong emphasis on suspense

Question 6

Because existentialism suggests that characters have no personal history before the play begins, no background, and therefore no specific causes for their action, the structure of an existentialist play is often lacking in

A) exposition.
B) juxtaposition.
C) composition.
D) imposition.

Question 7

In tragicomedy, the overview, or prevailing attitude, is a ________ of the serious and comic.

A) separation
B) downplaying
C) transcendence
D) synthesis

Question 8

Some tragicomedies, such as Shakespeare's Measure for Measure and All's Well That Ends Well, have been called

A) counterfeits.
B) antiplays.
C) problem plays.
D) farces.

Question 9

A type of broad, exaggerated comedy that takes marriage and sex as objects of fun is called

A) domestic comedy.
B) bedroom farce.
C) comedy of infidelity.
D) sex satire.

Question 10

Which of the following would NOT be considered slapstick comedy?

A) A waiter smartly avoids slipping on a banana peel only to be hit by a swinging kitchen door.
B) A man dives under a bed, coyly avoiding his lovers' husband, only to have the husband jump in bed.
C) A woman watches her husband slowly die after giving him the wrong medication.
D) A woman wearing a large fancy hat in a five-star hotel gets the hat caught in a revolving door.

Question 11

When Horace Walpole said "This world is a comedy to those that think, a tragedy to those that feel," he was probably NOT thinking

A) that life is often filled with irony.
B) that people are emotional beings.
C) one should think about one thing profoundly and a thousand things well.
D) that human beings might be the only living creatures capable of laughter.

Question 12

Which of the following is NOT a feature of melodrama?

A) There is a strong delineation of right and wrong.
B) The main characters are always living in danger and on the edge of calamity.
C) Even if the ending is sad, an optimistic worldview is present.
D) There is a strong emphasis on suspense.

Question 13

Which of the following is NOT a genre?

A) heroic
B) domestic drama
C) tragicomedy
D) clowning

Question 14

In the modern period, tragicomedy has become the predominant form of many of the best playwrights.

Question 15

Because we no longer have a society that believes in the concept of "the Gods"
as they did in ancient Greece, traditional Greek tragedies are no longer feasible to consider for contemporary productions.

Question 16

Examine a traditional tragedy (Greek or Shakespearean) in depth, exploring its meaning, point of view, and tragic dimensions.

Question 17

Examine a modern serious drama (O'Neill, Williams, Miller). Is the play a tragedy or not? Explain. Is tragedy as defined by the classical Greeks possible in today's world?

Question 18

With the plethora of comic book-based feature films there has been a surge recently in a heroic style of dramatic storytelling in film. Try to identify some examples that have elements in common with the heroic drama as defined in the textbook. Why is this form of storytelling so popular?

Question 19

In many ways, melodrama seems to be the preferred form of entertainment for contemporary American society. Make a list of current movies and television shows that share the characteristics of melodrama. Why do you think such stories are so popular right now? What does it tell you about American society? Does this preference for melodrama spill over into other areas of daily life, such as politics?

Question 20

Many theories of tragedy require that the protagonist be of noble birth. Make a list of contemporary equivalents to nobility. Is tragedy possible in a democratic society? Would nobility of spirit be a substitute for noble birth? What might be the characteristics of a noble spirit? Can you think of any examples of characters that fit that description?

Question 21

Discuss events from history, contemporary news events, or scandals that might be used as material for a traditional tragedy, a modern tragedy, or a heroic drama. What makes these suitable? Discuss the characters and events in terms of the characteristics of each genre.

Question 22

Why might we tell ourselves tragic stories? Why would we want to subject ourselves to sadness, horror, and fear? How do you feel after witnessing a tragic play, movie, or television show?

Question 23

Discuss religious stories in terms of the types of serious drama. For instance, is the story of Jesus' passion a tragedy, heroic drama, or melodrama? Why?

Question 24

Modern drama places an emphasis on subtext-what lies beneath the words in the depths of the characters' psychology. In many respects, the subtext in modern drama is more eloquent than the actual words that are spoken by the characters. In traditional tragedy, the language is verse because it deals with lofty and profound ideals; is there any way that subtext can be equally lofty and profound in modern drama? Provide examples.

Question 25

Explain why subjects that are ordinarily serious (e.g., pain and death) are not considered so in comedy.

Question 26

Discuss whether it is possible to make a serious point through comedy. Give examples. Why would a dramatist choose comedy to make a serious point?

Question 27

It has often been said that comedy is the most effective weapon against tyrants or political figures. What are some examples of using comedy to mock those who wield power? Discuss.

Question 28

Which kind of play do you prefer: a classic tragedy, a serious contemporary drama, a knockabout farce, a comedy, a musical? Can you explain why you prefer one type over the others?

Question 29

Why is it necessary for natural laws to be suspended in order for comedy to take place? Is comic behavior that is performed without the suspension of natural laws tragicomedy? Discuss.

Question 30

The text says that tragicomedy fuses the serious and comic. How can something be both? Can you give an example?

Question 31

Farce seems to be increasingly popular as a comic form. Discuss whether you feel that this is true, and give examples. Melodrama and farce are extreme forms of the serious and comic approaches to drama. Many people feel that our society is gravitating more and more toward extreme experiences. Discuss whether you agree, and what this seems to say about our society.

Question 32

Are there any subjects it would be impossible to treat in a comedic manner? If so, what would they be and why would they be exempt from comic treatment? Can you think of those moments when film, television, or theatre artists have tried? Did they succeed or fail? How were they received?

Question 33

Comedy is sometimes viewed as an opportunity for things to be spoken aloud about which we normally remain silent. Is comedy a social safety valve? How does this relate to Aristotle's idea of catharsis that he related to Greek tragedy?

Question 34

Is it still possible to write a viable comedy of manners in our contemporary American culture? Generate some possible ideas for comic premises for a very contemporary comedy of manners.

Question 35

Contemporary plays that fit into the tragicomic genre are frequently referred to as dark comedies because they are filled with comical dialogue and many characteristics of comedy and yet the actual circumstances of the play and the actor's subtext are quite serious and realistic by contemporary standards. Make two separate lists: One list should have serious circumstances or actions (i.e. various forms of death, murder, robbery, war etc.); the second should have two or three characters for each of the items on your first list (i.e. father - mother - son, or teacher - student - parent, or boss and two coworkers, or friends or enemies, etc.). See how many darkly comic premises you might be able to develop through the use and various combinations of your two lists.