This preview has intentionally blurred parts. Sign up to view the full document

View Full Document

Unformatted Document Excerpt

SIX CHAPTER THE DESIGNERS MULTIPLE CHOICE 1. Which of the following is most significant about the set design for the Circle in the Square production of Metamorphoses? A. A large pool of water provided the stage for much of the action of the play. B. The technical staff needed to install a three-ton swimming pool that could be lowered over the heads of audience members. C. There were 3,000 boxes stacked up at the front of the stage. D. There was a pool of blood that remained at the center of the space for the entirety of the production. Register to View AnswerPage: 161 2. Which of the following is not true regarding designers and their work in the theatre? A. Most designers have talents that are shared with other visual arts. B. Designers are interpretive artists whose creativity must be used to shape the world of the play. C. A designers work should stand alone and separate onstage from the other design areas. D. Each designer must interpret the ideas of the plays with materials just as the actors shape ideas with their voices and bodies. Register to View AnswerPage: 162 3. What is the first condition that governs the work of all designers? A. The text B. The directors concept C. The actors spatial relationships on stage D. The nature of the theatrical space and its relationship to the audience Register to View AnswerPage: 164 4. What is the performance space called if the audience sits opposite the stage, facing a rectangular form as if they were looking through one end of a box? A. Black box theatre B. Proscenium theatre C. Thrust theatre D. Arena theatre Register to View AnswerPage: 164 5. Which of the following is an advantage of black box theatre spaces? A. They are flexible in their seating and playing configurations. B. They are fixed spaces that help keep staging configurations and expenses to a minimum. C. The audience gets to look down on the actors because they always sit higher than the stage. D. This is the most preferred playing space for most actors and directors. Register to View AnswerPage: 166 6. Which of the following is not an option for changing sets during a performance in a thrust or arena theatre? A. Actors can change the set in a neutral persona rather than portraying one of their characters. B. The main curtain can be lowered, allowing set changes to occur without an audience seeing the changes. C. The lights can be dimmed for set changes. D. Set changes can be performed by costumed actors in a choreographed manner that makes them integral to the play. Register to View AnswerPage: 167-168 7. Which of the following responsibilities is not applicable to most theatre designers? A. Read the play carefully and research possible sources. B. Prepare an appropriate breakdown of design elements. C. Attend rehearsals and monitor changes in the designs. D. Fix problems as they come up during performances. Register to View AnswerPage: 170 8. What particular visual guide did the director and design team come up with for the Oregon Shakespeare Festivals production of Joe Turners Come & Gone? A. To make everything smoky and dark because of the Pittsburgh steel mills B. To have a contrast in colors between the actor playing Seth Holly and the rest of the characters C. The idea of an old sepia photograph for the look of the production D. The image of things confined versus things free Register to View AnswerPage: 171 9. When did scenic effects first take on significant interest in theatre productions? A. With the Greeks B. With the Roman and Medieval theatre C. With the Elizabethan theatre D. With the realistic theatre Register to View AnswerPage: 172 10. Which 19th century designer looked for radical changes in scene design where music, acting, scenery, and light became an integrated expression of the drama, and also advocated the elimination of painted scenery and all realistic objects? A. Adolphe Appia B. David Belasco C. Leonardo da Vinci D. Clinton Turner Davis Register to View AnswerPage: 173 11. Which is not listed as one of the advantages of using a multilevel stage? A. There are many expressive possibilities for arranging groups of actors. B. Movement patterns can be more dynamic. C. Special effects can be masked more easily. D. There is a more expansive rhythm of movement. Register to View AnswerPage: 174 12. What are the stenciled cutouts placed inside lighting instruments to produce patterned lighting effects? A. Gels B. Fresnels C. Gobos D. Lekos Register to View AnswerPage: 176 13. Which of the following was not a major set piece that was designed and incorporated into the Pacific Conservatory of Performing Arts production of Grapes of Wrath? A. A movable truck B. A sculptural unit placed at the back of the stage C. A field of wheat that had been devastated by the dust bowl D. A river with real water Register to View AnswerPage: 174-177 14. Why must costumer designers approach characters as a group? A. Similar fabrics and styles are much more cost efficient. B. In order to clearly express visual relationships between characters C. Groups of characters to tend dress similarly. D. Fittings can be complicated to schedule and therefore actors must be scheduled within their character groupings. Register to View AnswerPage: 177 15. In general, which designer aids actors the most in helping them discover the psychology of their characters? A. The set designer B. The lighting designer C. The costume designer D. The sound designer Register to View AnswerPage: 181 16. What lighting cue is necessary at the opening of The Oresteia? A. The flare of a beacon that signals the end of the Trojan War B. A flash of lightening, which is a metaphor that guides the entire trilogy C. Sunset, signaling the end of one battle, but anticipates a dark night of violence D. A spotlight that singles out Agamemnon who opens the play with a large declaration Register to View AnswerPage: 183 17. What sort of lighting was used in the theatre before electricity? A. Candles and gaslight B. There wasnt any indoor theatre before electricity. C. All performances had to occur during the day, with natural lighting coming through windows. D. Fluorescent lighting Register to View AnswerPage: 183 18. Which of the following is not a reason a lighting designer would use gels in their lighting design? A. To change the mood in a scene B. To create a patterned effect such a window or leaves C. To create warm or cool tones on stage D. To interact appropriately with the color choices of the scenic designer and the costume designer Register to View AnswerPage: 184-185 19. What are light cues? A. A list of the types of lighting instruments the designer intends to utilize in a production B. A chart of the placement of the lighting instruments that will be used in a production C. A list of all the light changes that will happen over the course of the production D. A chart of any of the gobo and/or colored gels that a designer intends to incorporate into a production Register to View AnswerPage: 185 20. How many lighting instruments were used in the Portland Center Stage production of Apollo? A. Less than 25 B. About 100 C. Between 400 and 450 D. At least 500 Register to View AnswerPage: 185 21. How many lighting cues were used in the Portland Center Stage production of Apollo? A. Less than 25 B. About 100 C. Between 400 and 450 D. At least 500 Register to View AnswerPage: 186 22. What was mentioned about the lighting used for A Chorus Line? A. The use of extremely bright colors B. The cues were initiated in time to the music. C. The stage was bare and therefore only white lights were used. D. The designer used sketches to explain the complex lighting plot. Register to View AnswerPage: 188 23. Who calls the light cues when a show is in performance? A. The director B. The lighting designer C. The stage manager D. The light board operator Register to View AnswerPage: 188 24. According to the text, why is it often important for the sound and set designers to work together? A. The music for a show shouldnt be anachronistic to the look of the production. B. Sound effects may not be necessary in a particularly abstract set design. C. Speakers tend to have feedback if they are not placed in front of the set. D. Speakers or microphones may need to be hidden on the set. Register to View AnswerPage: 189-190 TRUE AND FALSE 25. Like actors and directors, designers have skills and talents that are wholly and solely claimed by the theatre itself. Register to View AnswerPage: 162 26. As opposed to theater-in-the-round, an arena stage has audience sitting on only three sides. Register to View AnswerPage: 166 27. Only the thrust theatre lacks the masking of the proscenium arch and curtains that block the stage from the audiences view making all set changes visible by the audience. Register to View AnswerPage: 166 28. When designing set pieces in an arena theatre, a designer must be careful not to block the view of anyone in the audience. Register to View AnswerPage: 169 29. Designers seldom attend rehearsals. Register to View AnswerPage: 169 30. Most of the designing work happens before rehearsals begin and occurs away from the rehearsal hall. Register to View AnswerPage: 170 31. The light rendering designates the placement of all the lighting instruments hung at various positions in the theatre. Register to View AnswerPage: 171 32. Adolphe Appia felt that elaborate details in sets detracted from the actors. He encouraged the use of light to bring color to the stage and create mood and atmosphere. Register to View AnswerPage: 174 33. A good costume designer seldom wants or needs input from the actors when designing the costumes. Register to View AnswerPage: 180-182 34. Side lights particularly help to illuminate the faces of the actors. Register to View AnswerPage: 184 35. Lighting cues, which used to be created manually, are now done with computer programs. Register to View AnswerPage: 186 36. Because of the nature of the work, sound designers are the last part of the design team to be included in the process. Register to View AnswerPage: 189 37. Sound reinforcement refers to the sound cues that become part of the productions expressive language, thus reinforcing the speaking or singing of the actors or musicians. Register to View AnswerPage: 190 ... View Full Document

End of Preview

Sign up now to access the rest of the document