[This] "royal scene designer . . . established a theatrical troupe which was to have world-wide influence . . . [In the late nineteenth-century, he] created productions marked by excellent ensemble playing, by historical accuracy in costuming, and by an artistic and vital interrelationship between the movements of the actor and the decor"

"[His] ideas on acting, formulated in his celebrated brochure . . . The Paradox of Acting, were part of his broader thinking on the theatre. In a dogmatic manner, he insisted that the actor must be devoid of any sensibility."

"[H]e was an actor at the beginning of his career but also later when he had already written some great plays . . . He was with the Chamberlain's Company, headed by Richard Burbage, when it was founded in 1594"

"[O]ur most important single source of information on the Greek drama of the fourth and fifth centuries B.C. Student of Plato . . . he left . . . writings on politics, logic, and metaphysics, as well as studies of poetry and rhetoric."

"For twenty years he headed the foremost school of oratory in Rome, and the Emperor Vespasian created a chair of oratory for him. In 88 A.D. [he] retired from active teaching . . .  to write his great work, the Institutio Oratoria." 

"[T]he ______ should even, as much as possible, be an actor; for by natural sympathy, they are most persuasive and affecting who are under the influence of actual passion." 

Who did Aristotle say should, ideally, be an actor?

What is the title of Aristotle's work in which "we learn the origin of drama in Greece, the number of players used in performances and, indirectly, . . . some of the qualities attributed to actors and acting."

"This is referred to by the immortal Plato in his dialogue on poetic fury. He makes Ion say, 'Every time I recite a mournful poem my eyes fill with tears; every time I come on some terrible passages, my hair raises on my head."

The poetic fury referred to here most relates to the concept of:

"Delivery is by most writers called action; but it appears to derive one name from the voice, and the other from the gesture; for Cicero calls action sometimes the language, as it were, and sometimes the eloquence of the body."

Action defined as word and gesture, here, is attributed to:

"For no one will deny that all such particulars are a form of delivery, or will separate delivery itself from oratory; and assuredly the orator must not disdain to learn what he must practice. especially when this _________, which is, as is expressed by the word itself, the law of gesture, had its origin even in the heroic ages, and was approved by the most eminent men of Greece, even by Socrates himself; it was also regarded by Plato as a part of the qualifications of a public man."

The law of gesture referred to here, which dominated acting well into the Renaissance, is called

"Look you, before he cries, . . . the actor has listened over and over again to his own voice. At the very moment when he touches your heart he is listening to his own voice; his talent depends not, as you think, upon feeling, but upon rendering so exactly the outward signs of feelings, that you fall into the trap."

This phenomenon is known as

Which of the pre-modern theorists most resembles the "unifying role of the director" in modern theatre:

According to Denis Diderot, great artists, achieve their craft through

In which of the following ways did Leone di Somi not differ from his ancient predecessors. In other words, what remained the same.

Shakespeare's scene depicting the character of Quince directing a scene from Pyramus and Thisby illustrates

Histrionics is defined as 

"He would drown the stage with tears And cleave the general ear with horrid speech; Make mad the guilty and appal the free, Confound the ignorant, and amaze indeed The very faculties of eyes and ears"

In this passage, Hamlet describes what kind of actor?

Hamlet's line "Suit the action to the word, the word to the action; with this special observance, that you o'erstep not the modesty of nature: for anything do overdone us from the purpose of playing whose end, both at the first and now, was and is, to hold, as t'were, the mirror up to nature" illustrates

Which of the following theorists influenced Stanislavsky's Moscow Art Theatre

From whom did Stanislavski borrow the Realist techniques of ensemble acting, visual perspective, and crowd scenes?

Before his System, Stanislavski developed a ____ of acting.

What is the name of the theatre Stanislavsky worked at with playwright and educator Vladimir Nemirovich-Dachenko?

What political event put Stanislavski and his theatre into financial ruin?

What became the only lawful style of theatre under Lenin?

Besides Realism, what other style of theatre did Stanislavski pursue?

Which of the following is a text written by Stanislavski?

What were two primary influences on Stanislavski's System?

What is the sixth sense Stanislavski added to acting technique?

"sessions at the table. . . . actors work individually by visualising distinct moments from the characters' lives, thus imaginatively empathising with them. . . . Such fantasy incorporates the elements and details discovered by the cast as a whole"

"what the actor does to solve the problem, set before the character by the given circumstances of the play and production. . . . seeks to accomplish something . . . expressed as an active verb, action is both 'mental'/ 'inner' and 'physical'/ 'outer'; it must be 'apt' in relationship to the circumstances"

behaviors that "create contexts for scenes"

"single action in a scene"

"drives the need for the actor's actions and activities, something that needs solved to get what they need"

"far from a mere intellectual exercise . . . actor's . . . discover they play's anatomy not through discussion, but on their feet"

"actors remain essentially dynamic and improvisatory during performance" or "moment to moment"

"what an actor thinks and feels but cannot turn into words"

"clues that imply potential performance"

"resists scene's forward momentum"

"caused by counteractions and problems that are contradictory"

What did Bertolt Brecht do during WWI that left him disillusioned with human morality?

Which of the following theoretical works did Brecht write?

Why was Brecht replaced in his first directing role?

For Brecht, like Stanislavski, actor training begins with

Brecht departs from Stanislavski in which stage of rehearsal

Any device that makes the familiar strange to distance the audience from identifying with the character is called 

What determines thought in epic theatre?

The embodied social "attitude" expressing "where the character's stood and how they (the actors) stood toward their characters" is the definition of

In Brechtian theatre, an episode is defined as 

The actor's job in performing the episode is defined as one's

The underlying structure of behavior; trade: something is bought or sold is defined as

A caption is defined as 

Making the episode clear to the audience is called

The moment between people when the trade is made or denied is called

The use of use of a cell phone, wallet, and day planner to demonstrate the gest of Ophelia's madness monologue in Hamlet is an example of the

What is the key question for a Brechtian actor?

What is Shen Te's profession at the beginning of The Good Person of Setzuan?

What do the gods find out at the end of Good Person of Setzuan?

Why does Shen Te disguise herself as Shui Tau in Good Person of Setzuan?

Who did Brecht see perform in Moscow that informed his epic style of acting?

In the first stage of his career, Peter Brook mostly directed:

Which of the following is Peter Brook's most well-known theoretical work

Which is the studio, school, or theatre associated with Peter Brook?

Mis en scene is defined as:

For Brook, conversations are described as:

For Brook, tuning is described as:

For Brook, transparency is described as:

Which of the following is NOT a type of thearte discussed in Brook's Empty Space?

Holy Theatre is described as:

Rough Theatre is described as:

If Stanislavski has a System, Augusto Boal has an

Which is the studio, school, or theatre associated with Augusto Boal?

Which of the following is Augusto Boal's manifesto?

Which is NOT true of Augusto Boal?

Where did Augusto Boal study playwriting and directing?

Which of the following was NOT a major influence on Boal?

Which type of Boal style of theatre involves actors improvising scenes based on audience suggestions?

Which Boal style of theatre enacts daily news items as dialogic performance between actors and spectators?

The style of Boal theatre in which actors enact a conflict and spectactors intervene and try to change outcome of the scene is called

A Boal style of theatre in which actors enact issues in public spaces to provoke responses amongst an unknowing audience is called

The style of Boal theatre where spectactors construct an image of a theme and subject it to critical analysis is called

An image of the situation as it is

What the image might be if tensions are reduced is called the

Necessary actions to move from the real to ideal image is called

The facilitator in Boal's theatre is called the

An unrealistic intervention in forum theatre is called

What was the historical plot of Arena Theatre's successful play Arena Conta Zumbi?

What contemporary political context was Boal addressing with his historical play Arena Conte Zumbi?

For Boal, theatre is

Audience members in Boal's theatre are called