A. SCHOOLS OF ACTING – WESTERN AND EASTERN
-
The Natyashastra primarily deals with:
a) Architecture
b) Dramaturgy and Acting
c) Music Theory
d) Costume Design
Ans: b -
The central aesthetic theory of the Natyashastra is:
a) Catharsis
b) Alienation
c) Rasa
d) Realism
Ans: c -
Abhinaya in Sanskrit theatre does NOT include:
a) Angika
b) Aharya
c) Kathaka
d) Sattvika
Ans: c -
The Rasa Sutra in the Natyashastra defines:
a) Stage construction methods
b) Relationship between Bhava and Rasa
c) Makeup techniques
d) Rules of dialogue writing
Ans: b -
“Acting is an art of suggestion” refers to which tradition?
a) Greek
b) Roman
c) Sanskrit
d) Realist
Ans: c -
Angika Abhinaya refers to:
a) Verbal expression
b) Costumes and makeup
c) Bodily gestures and movement
d) Emotional states
Ans: c -
Sattvika Abhinaya expresses:
a) Costume aesthetics
b) Vocal technique
c) Internal emotion through involuntary expression
d) Physical choreography
Ans: c -
The concept of Yūgen (mystery, grace, subtle beauty) belongs to:
a) Kabuki Theatre
b) Noh Theatre
c) Chinese Opera
d) Sanskrit Theatre
Ans: b -
The founder of Kabuki theatre was:
a) Zeami
b) Okuni
c) Kan’ami
d) Li Yu
Ans: b -
Mie (frozen pose) is a signature acting technique of:
a) Noh
b) Peking Opera
c) Kabuki
d) Sanskrit Theatre
Ans: c -
Sheng, Dan, Jing, and Chou are role types in:
a) Peking Opera
b) Kabuki
c) Noh
d) Commedia dell’Arte
Ans: a -
In Peking Opera, the colour black in facial makeup represents:
a) Deceit
b) Integrity
c) Love
d) Evil
Ans: b -
Commedia dell’Arte originated in:
a) France
b) Italy
c) Spain
d) Greece
Ans: b -
Arlecchino is a character from:
a) Sanskrit Theatre
b) Kabuki
c) Commedia dell’Arte
d) Roman Mime
Ans: c -
The Magic If and Given Circumstances are part of whose acting system?
a) Meyerhold
b) Brecht
c) Stanislavsky
d) Grotowski
Ans: c -
Biomechanics as a theory of acting was introduced by:
a) Brecht
b) Stanislavsky
c) Meyerhold
d) Brook
Ans: c -
Emotional Memory and Objectives belong to which acting system?
a) Stanislavsky
b) Grotowski
c) Meyerhold
d) Boal
Ans: a -
Alienation Effect is associated with:
a) Grotowski
b) Brecht
c) Meyerhold
d) Craig
Ans: b -
Poor Theatre was developed by:
a) Grotowski
b) Brook
c) Boal
d) Kazan
Ans: a -
The purpose of Poor Theatre is to:
a) Use elaborate sets
b) Remove all non-essential theatrical elements
c) Focus on stage machinery
d) Replace actors with dancers
Ans: b
B. ACTOR’S TRAINING AND TECHNIQUE
-
Mime primarily trains:
a) Speech
b) Improvisation
c) Body expression and clarity
d) Costume handling
Ans: c -
Improvisation is essential for:
a) Text memorization
b) Spontaneity and ensemble awareness
c) Choreography
d) Stage lighting
Ans: b -
Voice and Speech training enhances:
a) Character movement
b) Projection and articulation
c) Costume selection
d) Sound design
Ans: b -
The integration of voice, body, and emotion defines:
a) Pantomime
b) Physical Theatre
c) Classical realism
d) Noh performance
Ans: b -
The Indian equivalent of “method acting” based on internal emotion is:
a) Sattvika Abhinaya
b) Aharya Abhinaya
c) Vachika Abhinaya
d) Angika Abhinaya
Ans: a -
Which acting style emphasises “demonstration” over “identification”?
a) Brechtian
b) Stanislavskian
c) Realist
d) Symbolist
Ans: a -
Grotowski’s training demands:
a) Vocal minimalism only
b) Elimination of emotional truth
c) Physical and spiritual discipline
d) Focus on external makeup
Ans: c -
In Natyashastra, acting is both:
a) Physical and vocal
b) Emotional and devotional
c) Technical and spiritual discipline
d) Mechanical and spontaneous
Ans: c
C. DIRECTION THEORIES AND PROCESS
-
The Duke of Saxe-Meiningen is known as:
a) Founder of realism
b) First modern director
c) Father of experimental theatre
d) Pioneer of poor theatre
Ans: b -
André Antoine founded:
a) Moscow Art Theatre
b) Théâtre Libre
c) Berliner Ensemble
d) Group Theatre
Ans: b -
The concept of fourth wall realism originated in:
a) Commedia dell’Arte
b) Naturalism
c) Expressionism
d) Epic Theatre
Ans: b -
Stanislavsky’s Moscow Art Theatre collaborated with:
a) Chekhov
b) Ibsen
c) Molière
d) Strindberg
Ans: a -
Epic Theatre is designed to produce:
a) Emotional catharsis
b) Critical distance and awareness
c) Melodrama
d) Classical imitation
Ans: b -
The Verfremdungseffekt aims to:
a) Increase realism
b) Make audience emotionally identify
c) Encourage critical observation
d) Use dance as narrative
Ans: c -
Grotowski eliminated what element from theatre?
a) The actor
b) The audience
c) Scenery and excess design
d) Performance discipline
Ans: c -
Peter Brook’s idea of “The Empty Space” means:
a) Minimalist set and essential actor–audience communication
b) Abandoning all meaning
c) Using black box only
d) Improvised dance
Ans: a -
Augusto Boal viewed the director as:
a) Dictator of meaning
b) Political facilitator
c) Technical designer
d) Passive observer
Ans: b -
In Theatre of the Oppressed, audience members become:
a) Spectators only
b) Spect-actors (participants)
c) Stagehands
d) Producers
Ans: b -
The director’s role is primarily to:
a) Design costumes
b) Coordinate and unify all aspects of production
c) Manage finances only
d) Write new dialogues
Ans: b -
Composition in direction means:
a) Costume planning
b) Spatial arrangement of actors and set for visual harmony
c) Music composition
d) Voice coordination
Ans: b -
Tempo and Rhythm in direction influence:
a) Scriptwriting pace
b) Emotional energy and dramatic flow
c) Stage design only
d) Lighting cue
Ans: b -
Picturisation refers to:
a) Makeup design
b) Formation of dynamic stage pictures
c) Costume sketches
d) Poster design
Ans: b -
Balance in direction implies:
a) Equal number of actors on each side
b) Visual and emotional equilibrium on stage
c) Musical symmetry
d) Technical balance of sound
Ans: b -
Emphasis in stage direction is achieved through:
a) Lighting, movement, and placement
b) Sound alone
c) Costume texture only
d) Improvisation
Ans: a -
Which of these stages belongs to production process?
a) Script analysis
b) Scene blocking
c) Technical rehearsal
d) All of the above
Ans: d -
Blocking means:
a) Lighting cue plotting
b) Actor’s planned movement on stage
c) Costume fitting
d) Rehearsal timing
Ans: b
D. LIGHTING DESIGN
-
Lighting primarily serves to:
a) Decorate the set
b) Reveal actors and create atmosphere
c) Replace music
d) Distract the audience
Ans: b -
The first realistic use of stage lighting was by:
a) Antoine
b) Brecht
c) Boal
d) Brook
Ans: a -
Adolphe Appia is known for:
a) Costume design
b) Lighting theory based on three-dimensional space
c) Sound composition
d) Theatre criticism
Ans: b -
Lighting intensity refers to:
a) Beam size
b) Brightness level
c) Lamp colour
d) Duration
Ans: b -
The emotional tone of lighting is controlled by:
a) Colour and direction
b) Stage curtains
c) Costume fabric
d) Actor’s makeup
Ans: a -
Fresnel lights are used for:
a) Sharp focus
b) Soft, even wash
c) Spot highlights
d) Sound absorption
Ans: b -
Follow spot is used to:
a) Illuminate scenery
b) Follow actor’s movement
c) Backlight the set
d) Dim the stage
Ans: b -
Gobos in lighting design are:
a) Masks worn by actors
b) Patterned templates for textured light projection
c) Costume embellishments
d) Types of microphones
Ans: b -
The Indian lighting designer who revolutionized modern stagecraft:
a) Habib Tanvir
b) Tapas Sen
c) Ratan Thiyam
d) Ebrahim Alkazi
Ans: b
E. COSTUME DESIGN
-
Costume primarily aids in:
a) Set construction
b) Characterization and visual storytelling
c) Lighting effects
d) Improvisation
Ans: b -
The silhouette of costume conveys:
a) Period and status
b) Dialogue
c) Stage design
d) Vocal tone
Ans: a -
In costume design, texture affects:
a) Lighting reflection and tactile appeal
b) Music tempo
c) Script interpretation
d) Blocking
Ans: a -
Costume colour schemes must coordinate with:
a) Lighting palette
b) Props
c) Stage curtains only
d) Microphone setting
Ans: a -
Aharya Abhinaya corresponds to which design aspect?
a) Acting movement
b) Costume and makeup
c) Vocal technique
d) Music rhythm
Ans: b -
A costume designer’s first step is:
a) Cutting fabric
b) Script and character analysis
c) Lighting setup
d) Dress rehearsal
Ans: b -
Onnagata in Kabuki refers to:
a) Male role
b) Female role played by men
c) Stage assistant
d) Dancer
Ans: b -
Makeup design enhances:
a) Sound quality
b) Actor’s physical transformation
c) Stage depth
d) Costume lighting
Ans: b
F. PRODUCTION AND INTEGRATION
-
The term mise-en-scène refers to:
a) Dialogue delivery
b) Complete visual composition of the stage
c) Script editing
d) Music direction
Ans: b -
Motivated lighting refers to:
a) Using hidden light sources
b) Light that appears to come from within the scene
c) Random spotlights
d) Overhead floodlight
Ans: b -
The “production concept” is:
a) A summary of script
b) Director’s central interpretative vision
c) Technical report
d) Marketing plan
Ans: b -
In Indian context, Habib Tanvir’s direction is noted for:
a) Realistic European settings
b) Folk elements and indigenous performers
c) Musical opera
d) Absurdist style
Ans: b -
Ebrahim Alkazi is best known for:
a) Realistic film acting
b) Theatre direction and design at NSD
c) Kathakali choreography
d) Street theatre
Ans: b -
Ratan Thiyam’s theatre combines:
a) Manipuri ritual, martial art, and modern aesthetics
b) Brechtian alienation
c) Greek chorus technique
d) Film adaptation
Ans: a -
B.V. Karanth contributed mainly to:
a) Music composition and direction in modern Indian theatre
b) Light design
c) Costume design
d) Mime acting
Ans: a -
Balance, Emphasis, Composition, Movement are:
a) Elements of direction
b) Acting methods
c) Lighting terms
d) Music patterns
Ans: a
G. WESTERN DIRECTORS & DESIGNERS
-
Max Reinhardt is known for:
a) Expressionist direction
b) Kabuki acting
c) Sanskrit revival
d) Street theatre
Ans: a -
Edward Gordon Craig proposed:
a) Realism
b) The actor as Übermarionette (super-puppet)
c) Epic theatre
d) Poor theatre
Ans: b -
Appia and Craig emphasized:
a) Two-dimensional scenery
b) Light and architecture as dynamic stage elements
c) Minimal rehearsal
d) Emotional memory
Ans: b -
Antonin Artaud proposed:
a) Theatre of Cruelty
b) Theatre of the Oppressed
c) Theatre of Roots
d) Expressionist realism
Ans: a -
Artaud’s Theatre of Cruelty seeks to:
a) Entertain politely
b) Shock and awaken subconscious emotion
c) Focus on historical realism
d) Replace actors with films
Ans: b -
Boal’s Forum Theatre allows:
a) Passive viewing
b) Audience intervention and enactment
c) Silent observation
d) Ritual chanting
Ans: b -
Peter Brook’s Mahabharata exemplifies:
a) Realism
b) Intercultural theatre
c) Epic theatre
d) Peking Opera adaptation
Ans: b -
Stanislavsky’s System inspired which American school?
a) The Group Theatre
b) Berliner Ensemble
c) Chorus Repertory
d) NSD
Ans: a -
Jerzy Grotowski’s Poor Theatre was practiced where?
a) Poland
b) France
c) Russia
d) USA
Ans: a
H. INDIAN DIRECTORS & APPLICATION
-
Badal Sircar’s Third Theatre primarily advocated:
a) Elaborate proscenium spectacle
b) Small-scale, non-proscenium, actor-audience proximity and political engagement
c) Opera and musical fusion
d) Filmic adaptations only
Ans: b -
Prithvi Theatre in Mumbai is most associated with:
a) Ebrahim Alkazi and the Kapoor family as cultural patrons and a repertory venue
b) Habib Tanvir’s Naya Theatre
c) Badal Sircar’s Anganmanch only
d) Ratan Thiyam’s Chorus Repertory
Ans: a -
The director who integrated folk performers and Chhattisgarhi actors into modern plays was:
a) Ebrahim Alkazi
b) Habib Tanvir
c) Ratan Thiyam
d) B.V. Karanth
Ans: b -
Which staging element is primarily the concern of the lighting designer?
a) Actor’s diction
b) Visual focus, mood, and time of day
c) Costume stitching
d) Prop procurement
Ans: b -
A lighting plot is:
a) A script annotation for actors
b) Diagram indicating position, type and purpose of each lighting instrument in the theatre
c) Sequence of costume changes
d) Sound cue list
Ans: b -
In costume design, period accuracy refers to:
a) The emotional arc of a character
b) Ensuring garments, cuts and accessories reflect the historical era of the play (or intentionally stylised alternative)
c) Number of costume changes
d) Type of fabric only
Ans: b -
Mise-en-scène most accurately refers to:
a) Lighting cue timings
b) The total visual arrangement on stage — actors, props, set, costume and movement as an integrated image
c) Only set construction details
d) Musical accompaniment
Ans: b -
Which technique helps an actor to find inner motivation through sensory recall or past experience?
a) Biomechanics
b) Emotional memory (Stanislavskian technique)
c) Alienation effect
d) Mie pose
Ans: b -
Cue-to-cue rehearsal is primarily used to:
a) Teach actors improvisation skills
b) Run through transitions focusing on technical cues (lighting, sound, set changes) rather than entire scenes
c) Design costumes
d) Compose the score
Ans: b -
A gobo is used to:
a) Amplify an actor’s voice
b) Project patterned light or texture onto stage surfaces
c) Fasten costume pieces
d) Record the performance
Ans: b -
The concept of gestus (social gesture) is central to which director/playwright’s acting theory?
a) Stanislavsky
b) Meyerhold
c) Brecht
d) Grotowski
Ans: c -
In directing, a table work session usually involves:
a) Blocking for movement around a table prop only
b) Close textual analysis and discussion of the script with actors before physical rehearsal begins
c) Costume fittings
d) Light cue programming
Ans: b -
The stage configuration called thrust places the audience:
a) Only on one side in front of the stage
b) On three sides around a stage that projects into the audience (audience on three sides)
c) Completely surrounds the stage (arena)
d) Above the stage (balcony)
Ans: b -
Antoine and the Théâtre Libre are historically linked to which theatrical principle?
a) Epic theatre and alienation
b) Naturalism and truth to life on stage
c) Poor theatre minimalism
d) Kabuki stylisation
Ans: b -
A director using picturisation will most often emphasise:
a) Text fidelity only
b) Creating striking stage images, tableaux and visual compositions to tell story moments
c) Rapid improvisation without design
d) Exclusive use of multimedia screens
Ans: b -
Which practice is essential for ensuring costumes read correctly under stage lights?
a) Waiting until opening night for fitting
b) Conducting costume tests under actual stage lighting during rehearsals
c) Ignoring fabric reflectivity
d) Using only dark colours
Ans: b -
Footlights historically provided lighting from:
a) Above the audience balcony
b) The stage floor at the front edge, influencing low-angle illumination and shadowing
c) The wings only
d) Side towers only
Ans: b -
Which directing approach favours the director as a facilitator of ensemble devised work rather than an authorial auteur?
a) Auteur approach
b) Devised/collective creation methods (ensemble-devised theatre)
c) Strict textual literalism
d) Commercial producer model
Ans: b -
In a production’s concept meeting, participants normally discuss:
a) Script interpretation, design palette (colours, textures), spatial approach and audience relationship — aligning director and designers on a unified vision
b) Only catering arrangements
c) Box office pricing exclusively
d) Film distribution rights
Ans: a -
Which of the following best captures the director’s ultimate responsibility?
a) Sewing and fitting costumes
b) Ensuring coherence of performance, design and audience experience — turning text into a live, communicative artwork
c) Writing music for the play
d) Marketing tickets only
Ans: b