Question 1

_____ Which is NOT part of the three-step process for developing critical judgement?&#10;A) One has an experience&#10;B) One analyzes the experience&#10;C) One develops a subjective response&#10;D) One communicates one's response to another

Accepted Answer

The three-step process for developing critical judgement includes having an experience, analyzing the experience, and communicating one's response to another. Developing a subjective response may occur during the analysis stage, but it is not one of the three specific steps mentioned.

Question 2

_____ Although some theatre critics may write flippant remarks, the most constructive or useful criticism:&#10;A) Balances itself with a discussion of both excellence and shortcomings&#10;B) Provides sufficient description of the production for the reader to understand the experience&#10;C) Seeks to understand, evaluate the effectiveness of the production, and relates (however subjectively) its ultimate worth.&#10;D) All of the above&#10;E) None of the above&#10;True/False

Accepted Answer

The best and most constructive criticism balances both positive aspects and areas for improvement, provides descriptive detail for readers, and evaluates the overall effectiveness and worth of the production.

Question 3

_____ Professional critics always adhere to a single context in making their judgments.

Accepted Answer

Professional critics can consider multiple contexts when making their judgments, such as cultural background, historical influences, and personal biases. They strive to provide an objective evaluation, but their subjective experiences and perspectives may still affect their opinions.

Question 4

_____ Which statement BEST defines the rules about how to experience a theatrical performance?&#10;A) The audience sits in the dark and quietly watches the play&#10;B) The audience is encouraged to interact socially during the play, and come and go freely&#10;C) There are no rules on how to experience a theatrical performance, but it may be more satisfying if one pays attention and uses their imagination&#10;D) The audience must read the play prior to the performance

Accepted Answer

There are no strict rules on how to experience a theatrical performance, but paying attention and using one's imagination can enhance the experience. However, disruptive behavior such as talking or using cell phones is generally discouraged. Option A is partially true, as the audience is expected to be quiet and attentive, but not necessarily in darkness. Option B goes against traditional expectations of behavior during a theatrical performance. Option D is not necessary, as the play is typically performed live for the audience's benefit.

Question 5

???_____ Audience response to a performance can be affected by which factor?&#10;A) The size and shape of the auditorium&#10;B) Other audience members&#10;C) Each audience members' imagination and concentration&#10;D) All of the above&#10;E) None of the above

Accepted Answer

The size and shape of the auditorium can affect the acoustics, visibility, and overall experience for the audience. Other audience members can affect the atmosphere and behavior of the audience as a whole. Each individual audience member's imagination and concentration can affect their personal experience and perception of the performance. Therefore, all of these factors can impact the audience response to a performance.

Question 6

Why is it sometimes difficult for theatres to attract new audiences? What obstacles stand in the way of this endeavor? What are some of the ways theatres have tried to attract new audiences? How successful do you think these practices might be on you and your peers?

Accepted Answer

The answer of Why is it sometimes difficult for theatres...

Question 7

_____ Theatres which produce plays intended for a small segment of the population (such as minorities) find it much easier to attract an audience than theatres whose goal it is to appeal to the community as a whole.

Accepted Answer

Theatres targeting a niche or specific segment like minorities may face challenges in attracting a larger audience due to the specialized nature of their content, which might not appeal to the broader community. Additionally, they might have limited resources and face competition from larger theatres with more universal appeal.

Question 8

_____ Which is NOT one of the three basic problems of criticism?&#10;A) Understanding&#10;B) Research&#10;C) Effectiveness

Accepted Answer

The three basic problems of criticism are generally considered to be understanding, interpretation, and evaluation. Research, while important in criticism, is not categorized as one of the fundamental problems it seeks to address.

Question 9

_____ What the audience sees is always the only possible interpretation of a script.

Accepted Answer

Interpretation of a script can vary between individuals and may not always be what the writer intended or what the audience perceives. Different factors such as cultural background, personal experiences, and beliefs can influence how one interprets a script.

Question 10

_____ A reader may re-read, reflect, and sustain several possible interpretations of a line, scene or entire play, but the playgoer experiences the action and characters more immediately and directly.

Accepted Answer

A reader has the ability to pause, re-read, and analyze a play in a way that a playgoer cannot easily do. This allows the reader to form and sustain multiple interpretations of a play. On the other hand, a playgoer experiences the characters and action more immediately and directly, as they are watching the play unfold before their eyes.

Question 11

_____ Some plays and musicals have met with negative or mixed reviews and still achieved popular success.

Accepted Answer

The answer of _____ Some plays and musicals have met...

Question 12

In critically assessing a work of art, what three major questions does a critic need to ask? State each question and explain its meaning and implications.

Accepted Answer

The answer of In critically assessing a work of art,...

Deck 2: The Audience and Criticism