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WorksheetsTEST - 72
Total questions: 100
Worksheet time: 2hrs 40mins
Name
Class
Date
1.
In Arthur Miller’s The Death of a Salesman, the single on-stage sound most associated with Willy’s nostalgic yearning is chiefly the sound of the
a)
harmonica
b)
flute
c)
violin
d)
metronome
2.
Reading The Death of a Salesman closely, which compact structural label best names the play’s final section following Act II?
a)
Epilogue
b)
Appendix
c)
Requiem
d)
Coda
3.
Within The Death of a Salesman, the stockings motif most directly indexes Willy’s
a)
thrift
b)
guilt
c)
illness
d)
poverty
4.
In The Death of a Salesman, Charley’s steady counterpoint to Willy’s volatility best illustrates which device?
a)
Foil by contrast
b)
Foil by stability
c)
Doppelgänger
d)
Chorus substitute
5.
In The Death of a Salesman, which concise phrase best captures Willy’s delusional motto about success (“Be—”)?
a)
Strong
b)
Well-liked
c)
Hard-working
d)
Fearless
6.
Regarding years, The Death of a Salesman premiered in
a)
1947
b)
1949
c)
1951
d)
1953
7.
In The Death of a Salesman, the seeds Willy buys late at night function symbolically as his hope for
a)
Biff’s marriage
b)
legacy/roots
c)
money in hand
d)
Ben’s return
8.
In The Death of a Salesman, Howard’s gadget-filled office most crisply signifies Willy’s
a)
love of technology
b)
obsolescence
c)
promotion prospects
d)
mastery of sales
9.
In The Death of a Salesman, Bernard’s adult success (argued case before the Supreme Court) primarily punctures Willy’s myth about
a)
charisma
b)
education
c)
popularity
d)
athletics
10.
“A salesman is got to dream, boy. It comes with the territory.” In The Death of a Salesman, who says this line?
a)
Willy
b)
Ben
c)
Biff
d)
Charley
11.
In Eugene O’Neill’s The Emperor Jones, the tightening tom-tom rhythm most exactly mirrors
a)
rain
b)
Jones’s panic
c)
soldiers’ march
d)
heartbeat of Smithers
12.
In The Emperor Jones, the “silver bullet” is originally minted by Jones as a
a)
charm
b)
boast of invincibility
c)
dowry
d)
tax token
13.
The dramaturgy of The Emperor Jones is most accurately classed as
a)
naturalist
b)
expressionist
c)
neoclassical
d)
absurdist
14.
In The Emperor Jones, the slave ship vision is best read as a
a)
prophecy
b)
ancestral memory
c)
tropical myth
d)
Bible allegory
15.
Which year best matches the first production of The Emperor Jones?
a)
1916
b)
1920
c)
1924
d)
1928
16.
In The Emperor Jones, Smithers’s function in the opening palace scene is chiefly that of a(n)
a)
messenger
b)
expository confidant
c)
judge
d)
translator
17.
In The Emperor Jones, the forest’s visual fragmentation primarily enacts
a)
colonial mapmaking
b)
psychic disintegration
c)
stage economy
d)
storm realism
18.
The drum’s acceleration in The Emperor Jones technically serves as a
a)
leit-color
b)
leitmotif
c)
ostinato visual
d)
tableau vivant
19.
In The Emperor Jones, the natives’ final use of a silver bullet chiefly
a)
honors Jones
b)
fulfills Jones’s own boast
c)
appeases a god
d)
imitates Europeans
20.
“For de big stealin’ dey makes you emperor.” In The Emperor Jones, the speaker is
a)
Smithers
b)
Brutus Jones
c)
The Witch-Doctor
d)
The Prison Guard
21.
In Tennessee Williams’s A Streetcar Named Desire, the Varsouviana polka operates as a(n)
a)
diegetic waltz only
b)
sound leitmotif of trauma
c)
Cajun dance cue
d)
trumpet fanfare
22.
In A Streetcar Named Desire, the paper lantern on the bare bulb most compactly symbolizes Blanche’s
a)
wealth
b)
self-delusion/softening of truth
c)
education
d)
cleanliness
23.
The year of Broadway premiere for A Streetcar Named Desire is
a)
1945
b)
1947
c)
1949
d)
1951
24.
In A Streetcar Named Desire, Stanley’s poker night most precisely stages
a)
civic order
b)
male tribal energy
c)
legal hearing
d)
religious ritual
25.
The place Blanche claims to have taken “a streetcar named Desire” to reach is
a)
Baton Rouge
b)
Elysian Fields
c)
Vieux Carré
d)
Laurel Junction
26.
In A Streetcar Named Desire, the Mexican woman’s cry “Flores para los muertos” punctuates Blanche’s
a)
reunion
b)
song
c)
mortality fixation
d)
marriage plan
27.
Which term best captures Williams’s scenic method in A Streetcar Named Desire?
a)
Kitchen-sink realism
b)
Plastic theatre
c)
Futurist montage
d)
Epic theatre
28.
In A Streetcar Named Desire, Mitch’s surname is
a)
Kowalski
b)
Mitchell
c)
Gonzales
d)
Hubble
29.
“I have always depended on the kindness of strangers.” In A Streetcar Named Desire, the speaker is
a)
Stella
b)
Blanche
c)
Eunice
d)
The Matron
30.
In A Streetcar Named Desire, the shouted one-word line that reasserts physical primacy is
a)
“Blanche!”
b)
“Stella!”
c)
“Poker!”
d)
“Mitch!”
31.
In Girish Karnad’s Hayavadana, the tale of transposed heads ultimately interrogates the location of
a)
virtue
b)
identity
c)
memory storage
d)
caste rank
32.
In Hayavadana, the principal indigenous performance idiom framing the action is
a)
Kathakali
b)
Yakshagana
c)
Kuchipudi
d)
Chhau
33.
The year most closely associated with Hayavadana’s first staging is
a)
1965
b)
1971
c)
1976
d)
1981
34.
In Hayavadana, Padmini’s choice (head of Devadatta, body of Kapila) most directly generates a debate about
a)
dharma vs artha
b)
selfhood vs embodiment
c)
fate vs free will only
d)
ritual vs satire
35.
The goddess who humorously “misplaces” and then “corrects” the heads in Hayavadana is
a)
Durga
b)
Kali
c)
Parvati
d)
Saraswati
36.
The speaking Dolls in Hayavadana serve chiefly as a
a)
legal chorus
b)
comic commentary device
c)
tragic oracle
d)
realist prop gag
37.
In Hayavadana, Hayavadana’s final transformation into a complete horse pointedly leaves the human child
a)
headless
b)
speechless
c)
laughing
d)
nameless
38.
The Bhagavata in Hayavadana most nearly functions as
a)
judge
b)
narrator-guide
c)
trickster
d)
villain
39.
In Hayavadana, Devadatta’s initial vow to sacrifice his arms to Kali is linked to his
a)
marriage to Padmini
b)
poetic ambition
c)
renunciation of meat
d)
victory in wrestling
40.
The source chain for Hayavadana includes Thomas Mann’s retelling from
a)
Panchatantra
b)
Somadeva’s Kathasaritsagara
c)
Hitopadesha
d)
Jataka tales
41.
In Vijay Tendulkar’s Silence! The Court Is in Session, the troupe’s “mock-trial” structure is best labeled
a)
courtroom realism
b)
metatheatre
c)
Theatre of Cruelty
d)
masque
42.
In Silence! The Court Is in Session, the absent yet determinative male is
a)
Ponkshe
b)
Prof. Damle
c)
Samant
d)
Sukhatme
43.
The original Marathi year for Silence! The Court Is in Session is most accurately
a)
1962
b)
1967
c)
1972
d)
1978
44.
In Silence! The Court Is in Session, Mrs. Kashikar’s incessant “discipline” most succinctly encodes
a)
legal acumen
b)
domestic patriarchy
c)
medical anxiety
d)
modern feminism
45.
In Silence! The Court Is in Session, Sukhatme’s bombast chiefly parodies
a)
journalism
b)
lawyering
c)
politics
d)
medicine
46.
The central charge rehearsed against Leela Benare in Silence! The Court Is in Session is
a)
theft
b)
illicit pregnancy
c)
espionage
d)
plagiarism
47.
A precise device in Silence! The Court Is in Session: the transformation of a stage game into psychological persecution exemplifies
a)
peripeteia
b)
escalating play-within-play
c)
catharsis
d)
anagnorisis only
48.
In Silence! The Court Is in Session, Samant primarily functions as a
a)
villain
b)
judge
c)
naïf/foil
d)
informer
49.
Benare’s profession in Silence! The Court Is in Session is
a)
stenographer
b)
clerk
c)
schoolteacher
d)
actor-manager
50.
The “silence” of the title in Silence! The Court Is in Session most densely indicates
a)
acoustic design
b)
compelled suppression
c)
blackout cue
d)
oath ritual
51.
In Mahasweta Devi’s Rudali (story), the titular practice signifies women hired to
a)
dance at weddings
b)
mourn at funerals
c)
chant at temples
d)
sing at births
52.
The central figure of Rudali whose life is ground by caste-feudal power is
a)
Parbatiya
b)
Sanichari
c)
Dulan
d)
Sukhri
53.
The closest original year for Mahasweta Devi’s Bengali story Rudali is
a)
1973
b)
1979
c)
1984
d)
1992
54.
In Rudali, Bikhni is most precisely
a)
Sanichari’s daughter
b)
landlord’s wife
c)
Sanichari’s companion
d)
village midwife
55.
In Rudali, the economics of grief chiefly expose
a)
market socialism
b)
feudal hypocrisy
c)
unionized labor
d)
court patronage
56.
The tone of Rudali is best captured as
a)
pastoral comic
b)
gothic horror
c)
social realist
d)
absurdist farce
57.
In Rudali, the professionalization of mourning turns sorrow into
a)
ritual taboo
b)
commodity
c)
pilgrimage
d)
prophecy
58.
The film adaptation Rudaali transposes the setting visually to the deserts of
a)
Bengal Delta
b)
Rajasthan
c)
Odisha
d)
Assam
59.
In Rudali, the landlords’ funerary display purchases
a)
salvation
b)
status
c)
forgiveness
d)
tax relief
60.
In Rudali, Sanichari’s arc from marginalized widow to rudali underscores a critique of
a)
mythic time
b)
caste capitalism
c)
colonial bureaucracy
d)
missionary creed
61.
In Mahesh Dattani’s Dance Like a Man, the classical dance form at stake is
a)
Odissi
b)
Kathak
c)
Bharatanatyam
d)
Manipuri
62.
In Dance Like a Man, Amritlal Parekh’s past as a freedom fighter ironically coexists with his
a)
atheism
b)
socialism
c)
domestic conservatism
d)
artistic patronage
63.
The most accurate premiere date cluster for Dance Like a Man is
a)
1989
b)
1993
c)
1997
d)
2001
64.
In Dance Like a Man, the death of infant Shankar becomes a
a)
romance trigger
b)
legal subplot
c)
marital fault-line
d)
comic relief point
65.
In Dance Like a Man, Ratna’s ambition is strategically tied to
a)
cinema
b)
Lata’s career
c)
temple rituals
d)
hotel management
66.
The Bangalore living-room setting in Dance Like a Man facilitates a
a)
courtroom drama
b)
domestic chamber piece
c)
road movie
d)
masque
67.
In Dance Like a Man, Jairaj’s struggle most precisely targets
a)
poverty
b)
masculinity norms
c)
literacy
d)
migration
68.
The guru figure (“Guruji”) in Dance Like a Man is revealed to be
a)
a fraud
b)
a saint
c)
manipulative
d)
indifferent
69.
In Dance Like a Man, Viswas is linked to Lata as her
a)
cousin
b)
fiancé
c)
critic
d)
accompanist
70.
The title phrase in Dance Like a Man is voiced from a position of
a)
feminist solidarity
b)
patriarchal policing
c)
nationalist uplift
d)
devotional surrender
71.
In Wole Soyinka’s The Lion and the Jewel, the “Lion” of the title is
a)
Lakunle
b)
Baroka
c)
Sadiku
d)
The Stranger
72.
In The Lion and the Jewel, Lakunle’s refusal to pay the bride-price is framed as
a)
thrift
b)
modernist principle
c)
secret poverty
d)
insult ritual
73.
The scene divisions in The Lion and the Jewel are titled
a)
Dawn/Day/Dusk
b)
Morning/Noon/Night
c)
Harvest/Sowing/Dry season
d)
Birth/Marriage/Death
74.
The year of first performance/publication most closely tied to The Lion and the Jewel is
a)
1954
b)
1959
c)
1963
d)
1968
75.
In The Lion and the Jewel, the traveling photographer’s images give Sidi
a)
shame
b)
celebrity power
c)
exile
d)
dowry proof
76.
Sadiku in The Lion and the Jewel primarily acts as
a)
rival bride
b)
go-between/confidante
c)
judge
d)
priestess
77.
Lakunle’s rhetoric in The Lion and the Jewel parodies
a)
epic Yoruba praise-poetry
b)
colonial textbook modernity
c)
legal English
d)
missionary Latin
78.
In The Lion and the Jewel, Baroka’s “impotence” rumor is
a)
true
b)
a ruse
c)
miracle
d)
medical fact
79.
The climactic choice Sidi makes in The Lion and the Jewel is to marry
a)
Lakunle
b)
Baroka
c)
The Stranger
d)
No one
80.
The core thematic conflict in The Lion and the Jewel is tradition versus
a)
fate
b)
modernity
c)
nature
d)
commerce
81.
In George Ryga’s The Ecstasy of Rita Joe, the fragmented courtroom sequences chiefly indict
a)
provincial judges
b)
systemic injustice
c)
mob violence only
d)
trial by media
82.
The premiere decade for The Ecstasy of Rita Joe is
a)
1950s
b)
1960s
c)
1970s
d)
1980s
83.
In The Ecstasy of Rita Joe, Jaimie Paul is most closely associated with
a)
law school
b)
Rita’s hope and love
c)
urban bureaucracy
d)
missionary home
84.
The cityscape in The Ecstasy of Rita Joe functions as a
a)
pastoral refuge
b)
hostile labyrinth
c)
ritual temple
d)
comic foil
85.
Stylistically, The Ecstasy of Rita Joe adopts a
a)
neoclassical unities frame
b)
nonlinear episodic montage
c)
kitchen-sink realism
d)
Beckettian two-hander
86.
The play’s central social focus in The Ecstasy of Rita Joe concerns
a)
immigrant Europeans
b)
Indigenous dispossession
c)
merchant guilds
d)
agrarian reform
87.
In The Ecstasy of Rita Joe, the Singer’s interventions approximate a
a)
judge’s charge
b)
choric commentary
c)
bailiff’s order
d)
news bulletin
88.
The Magistrate figure in The Ecstasy of Rita Joe most precisely embodies
a)
mercy
b)
bureaucratic blindness
c)
revolutionary zeal
d)
pastoral care
89.
Rita Joe’s story in The Ecstasy of Rita Joe ends with her
a)
acquittal
b)
exile
c)
death
d)
wedding
90.
The “ecstasy” of the title in The Ecstasy of Rita Joe most densely signals
a)
church rite
b)
narcotic only
c)
brief transcendence amid suffering
d)
bridal trance
91.
In Jane Harrison’s Stolen, the five-character ensemble includes Ruby, Jimmy, Sandy, Anne, and
a)
Mary
b)
Shirley
c)
Lena
d)
Agnes
92.
The Australian premiere decade for Stolen is the
a)
1980s
b)
1990s
c)
2000s
d)
2010s
93.
In Stolen, Anne’s upbringing most sharply contrasts with the others because she is
a)
in prison
b)
adopted into a white middle-class home
c)
a nun
d)
a nurse
94.
In Stolen, Jimmy’s recurring line “I want to go home” most directly articulates
a)
military leave
b)
displaced longing
c)
tourist desire
d)
prison escape code
95.
The minimal set and rapid scene-switching in Stolen chiefly produce
a)
naturalist detail
b)
choric mosaic
c)
ritual liturgy
d)
clowning farce
96.
The policy critique embedded in Stolen addresses the removal of Aboriginal children known as the
a)
Frontier Wars
b)
Land Rights Era
c)
Stolen Generations
d)
Native Title Act
97.
In Stolen, Ruby’s arc centrally involves her
a)
law degree
b)
institutional abuse
c)
political office
d)
musical fame
98.
In Stolen, Sandy’s constant motion most compactly figures
a)
athletic training
b)
restless search for country
c)
courier work
d)
stagehand role
99.
The dramaturgical texture of Stolen is best described as
a)
verse drama
b)
episodic collage
c)
closet drama
d)
farce-melodrama
100.
In A Streetcar Named Desire, identify the speaker of the line-cue question: “Poker shouldn’t be played in a house with women.”
a)
Stanley
b)
Mitch
c)
Steve
d)
Pablo
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