100 MCQs (UGC-NET level)
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Theatre in Education (TIE) primarily aims to:
a) Produce commercially successful plays
b) Use drama techniques to achieve defined educational objectives
c) Replace the school curriculum entirely
d) Create theatrical spectacles for festivals
Ans: b -
Practice-as-Research (PaR) in theatre signifies:
a) Archival research only
b) Creative practice as an investigatory method that generates knowledge
c) Survey research among audiences
d) Textual editing of plays
Ans: b -
The classical Indian treatise that forms the foundation for traditional actor training is:
a) Abhinaya Darpana
b) Natyashastra
c) Sangeet Ratnakara
d) Natya Manjusha
Ans: b -
Which institution is the principal national agency for recognition and support to Indian performing arts including theatre?
a) National School of Drama (NSD)
b) Sangeet Natak Akademi (SNA)
c) Lalit Kala Akademi
d) Directorate of Film Festivals
Ans: b -
Nepathya vidhi in classical Indian theatre refers to:
a) Onstage costume and make-up conventions
b) Backstage procedures, preparations and rituals
c) Audience seating plan
d) Types of stage machines
Ans: b -
A pedagogical method that uses short improvisational exercises to develop listening, spontaneity and status awareness is attributed to:
a) Konstantin Stanislavsky
b) Keith Johnstone and Viola Spolin
c) Vsevolod Meyerhold
d) Bharata Muni
Ans: b -
Which movement discipline is most directly associated with breath control and centring practices used in actor training?
a) Kalaripayattu
b) Yoga (pranayama)
c) Laban movement analysis
d) Peking opera singing
Ans: b -
A researcher using participant observation, field notes and interviews to study a living folk theatre tradition is employing:
a) Experimental method
b) Ethnography
c) Bibliographic method
d) Content analysis
Ans: b -
The National School of Drama (NSD) in India is best described as:
a) A grant-giving body only
b) A professional training, repertory and research institution for theatre
c) A film institute
d) A private theatre company
Ans: b -
Which of the following best exemplifies applied theatre?
a) A commercial West End musical
b) A prison drama workshop facilitating rehabilitation and reintegration
c) A festival premiere of a classical play
d) A corporate gala performance
Ans: b -
Abhinaya in Indian performance theory includes all EXCEPT:
a) Angika (physical expression)
b) Vachika (speech)
c) Nepathya (backstage ritual)
d) Sattvika (psychic-emotional expression)
Ans: c -
In theatre pedagogy, “devising” refers to:
a) A director staging a canonical script unchanged
b) Collaborative creation of performance often through improvisation and workshop practice
c) Only costume design process
d) Teaching acting by lecturing only
Ans: b -
Which scholar authored Theatres of Independence: Drama, Theory and Urban Performance in India since 1947?
a) Rustom Bharucha
b) Aparna Bhargava Dharwadker
c) Kapila Vatsyayan
d) Ebrahim Alkazi
Ans: b -
A “production thesis” in a theatre MA/MFA programme typically involves:
a) Only a written literature review
b) Mounting a staged production accompanied by a written critical reflection or documentation
c) Only coursework exams
d) A business plan for a theatre company
Ans: b -
Which of the following accurately describes “Theatre of the Oppressed”?
a) A form of classical Indian ritual theatre
b) Augusto Boal’s set of interactive techniques that empower audiences to rehearse social change
c) A style of musical theatre
d) A 19th century melodrama genre
Ans: b -
Kinesthetic awareness in movement training refers to:
a) Knowledge about lighting instruments
b) Sensitivity to body position, movement dynamics and internal sensation
c) Skill in sewing costumes
d) The study of dramatic texts only
Ans: b -
Which method is most appropriate to evaluate learning outcomes in school theatre programmes?
a) Only multiple-choice tests
b) Portfolios, performance assessment rubrics and reflective journals
c) Box office revenue analysis
d) Costume checklists only
Ans: b -
Which one is an example of practice-as-research output?
a) An annotated bibliography only
b) A documented performance (video) with reflective exegesis linking practice and research questions
c) A press release for a play
d) A ticketing report
Ans: b -
Which institution organises Bharat Rang Mahotsav?
a) Sangeet Natak Akademi
b) National School of Drama (NSD)
c) Prithvi Theatre
d) Ministry of Sports
Ans: b -
Which of the following is NOT a primary aim of community theatre?
a) Engaging local participants in performance making
b) Addressing local social concerns and fostering dialogue
c) Maximising commercial profit for producers
d) Preserving local performance traditions and knowledge
Ans: c -
Which training system emphasises codified hand gestures (mudras), facial micro-expressions and rasa aesthetic?
a) Stanislavskian method
b) Indian classical abhinaya tradition
c) Meyerhold’s biomechanics
d) Spolin improvisation games
Ans: b -
Which movement analysis framework is commonly used in actor movement studies to annotate and analyse movement quality (weight, space, time, flow)?
a) Stanislavsky’s given circumstances
b) Laban Movement Analysis (LMA)
c) Brechtian gestus
d) Boal’s forum techniques
Ans: b -
Which is a core difference between Theatre in Education (TIE) and Applied Theatre?
a) TIE is always commercial while Applied Theatre is not
b) TIE is typically curriculum-linked educational practice in schools; Applied Theatre has broader social/therapeutic/community aims beyond formal schooling
c) TIE uses only puppets; Applied Theatre uses only song
d) There is no difference; they are identical terms
Ans: b -
Which Indian scholar is known for influential work on intercultural performance and postcolonial critique?
a) Aparna Dharwadker
b) Rustom Bharucha
c) Kapila Vatsyayan
d) Bharata Muni
Ans: b -
Which of these is a typical research method in theatre studies?
a) Randomised controlled trials only
b) Archival research, ethnography, practice-as-research, discourse analysis
c) Only laboratory chemical tests
d) Only financial audits
Ans: b -
Which practice is most directly useful for training stage combat and safe falling?
a) Laban notation
b) Martial arts (e.g., Kalaripayattu, Aikido) and stage combat techniques
c) Script analysis only
d) Costume fitting workshops
Ans: b -
Which major Indian award is conferred for lifetime contribution in performing arts by the Government of India?
a) Oscar Award
b) Padma Awards (Padma Shri / Padma Bhushan) and Sangeet Natak Akademi Fellowship/awards
c) Booker Prize
d) Turner Prize
Ans: b -
Which of the following best defines “ensemble devising” in theatre pedagogy?
a) Theatre made by a single playwright with no performer input
b) Collective creation where performers co-create material often through improvisation and workshops
c) A standard proscenium rehearsal process only
d) Only choreography for musicals
Ans: b -
Which practice emphasizes reduction of spectacle to concentrate on actor–audience encounter and rigorous actor training?
a) Broadway musical production
b) Jerzy Grotowski’s Poor Theatre
c) Kabuki theatre
d) Peking Opera spectacle
Ans: b -
Which of the following is NOT generally part of a university theatre curriculum?
a) Theatre history and criticism
b) Practical workshops in acting / direction / design
c) Research methodology and dissertation work
d) Exclusively commercial film production internships (unless elective)
Ans: d -
Which of these is the most suitable method for documenting oral histories of theatre practitioners?
a) Participant observation and recorded interviews with consent, cataloguing and archiving materials
b) Only reading published plays
c) Only scanning ticket stubs
d) Only filming stage fight sequences without permission
Ans: a -
Which of the following best describes a performance portfolio used in theatre education?
a) A list of only monetary transactions
b) An organised collection of evidence — videos, photographs, scripts, reflective notes — demonstrating a student’s learning and creative development
c) A program brochure only
d) Only costume receipts
Ans: b -
Which training approach integrates Stanislavskian psychological techniques with traditional Indian abhinaya practices to create hybrid actor training?
a) Exclusive method acting only
b) Integrative or hybrid curricula offered in many contemporary conservatories and NSD modules
c) Only biomechanics training
d) Only Grotowski’s poor theatre training
Ans: b -
Which festival is primarily associated with contemporary and experimental theatre in Mumbai?
a) Prithvi Theatre Festival
b) Bharat Rang Mahotsav
c) Jaipur Literature Festival
d) Edinburgh Fringe
Ans: a -
Which of these is a common outcome measure for applied theatre interventions (e.g., health education, social awareness)?
a) Ticket sales only
b) Behavioural change indicators, community engagement metrics, qualitative testimonies, pre/post knowledge assessments
c) Number of costumes used
d) Only production length
Ans: b -
Which scholar is most associated with the theoretical concept of “performance studies” in global scholarship?
a) Erika Fischer-Lichte / Richard Schechner (both influential in performance studies)
b) Only Bharata Muni
c) Only Keith Johnstone
d) Only Ebrahim Alkazi
Ans: a -
Which of the following is a key advantage of incorporating puppetry exercises in early theatre pedagogy?
a) Encourages object work, focus, precision, and non-verbal storytelling skills in learners
b) Teaches only advanced vocal technique for opera
c) Replaces theatre games entirely
d) Is only relevant for film acting
Ans: a -
Which body typically provides fellowships and financial support for theatre research in India?
a) Sangeet Natak Akademi and University Grants Commission (UGC) / Ministry of Culture schemes
b) Only commercial film studios
c) Automobile corporations exclusively
d) Only fashion houses
Ans: a -
Which movement notation system is used to record and analyse movement in theatre and dance pedagogy?
a) Morse code
b) Labanotation (Laban Movement Analysis notation)
c) Musical notation only
d) Binary code
Ans: b -
Which pedagogical resource is most useful to assess process-oriented learning in children’s theatre?
a) End-of-term written exams only
b) Observational checklists, portfolios, video reflections and peer/self assessment
c) Solely box office income
d) Costume invoices
Ans: b -
Which research approach most directly foregrounds the researcher’s creative practice as the method of enquiry and the artistic product as a form of knowledge claim?
a) Archival cataloguing
b) Practice-as-Research (PaR) or Practice-led research
c) Purely bibliographic study
d) Secondary data analysis
Ans: b -
Which of the following is a central concern of feminist theatre pedagogy?
a) Reproducing male-centric canonical texts without critique
b) Addressing gender inequalities, foregrounding women’s narratives and promoting inclusive participatory methodologies
c) Only commercial success metrics
d) Excluding women from performance
Ans: b -
Which of the following is most characteristic of community theatre practice?
a) Exclusive reliance on professional actors and high production budgets
b) Participation of local community members, use of vernacular forms, focus on social issues and local relevance
c) Only historical reconstructions by scholars
d) Corporate entertainment only
Ans: b -
Which method is commonly taught in actor training to develop dynamic use of space, weight and timing?
a) Only textual analysis
b) Laban movement techniques and Bartenieff fundamentals
c) Only costume drawing exercises
d) Only sound design
Ans: b -
Which of the following accurately describes the role of a dramaturge in a university production?
a) Only buying tickets
b) Providing script research, contextual analysis, adaptation guidance and working with director and students on textual coherence and research content
c) Making coffee backstage only
d) Controlling house lights only
Ans: b -
Which of these best illustrates a practice-based doctoral research question in theatre education?
a) “What is the GDP growth of the theatre industry?”
b) “How does devising theatre with adolescent participants influence civic engagement? — A practice-as-research study combining workshops, performances and reflective analysis.”
c) “How many seats are in all Indian theatres?”
d) “What are the colours of costumes used in film?”
Ans: b -
Which of the following is an internationally recognised model of participatory theatre used for social change and empowerment?
a) Kabuki theatre
b) Theatre of the Oppressed (Augusto Boal)
c) Stanislavsky’s ensemble method only
d) Peking Opera
Ans: b -
Which research output is typically peer-reviewed and considered academically rigorous in theatre studies?
a) A blog post with no references
b) Article in a peer-reviewed journal, monograph or peer-reviewed conference proceedings
c) A press release for a performance
d) A tweet thread
Ans: b -
Which is a core component of an undergraduate theatre programme aimed at professional training?
a) Only three months of study
b) Theory modules (history/criticism), practical labs (acting/directing/design), production participation, internships and assessment via performance portfolios
c) Only watching recorded films
d) Only marketing classes
Ans: b -
Which of the following actions best exemplifies ethical research practice when documenting community theatre traditions?
a) Recording performers without consent and publishing raw footage
b) Obtaining informed consent, acknowledging contributors, sharing outcomes with community, and respectful contextualisation
c) Selling materials without attribution
d) Presenting undocumented material as your own creation
Ans: b -
Which practical training element is most likely to be emphasised in a children’s theatre workshop?
a) Advanced stage lighting programming
b) Playful storytelling, puppetry, role-play, simple devising and movement games
c) Detailed costume manufacturing techniques for adults
d) Complex scenic construction methods
Ans: b -
Which institution is commonly cited as instrumental in professionalising theatre practice and pedagogy in post-Independence India?
a) National Film and Television School only
b) National School of Drama (NSD)
c) Only private theatre groups
d) Comics publishers
Ans: b -
Which of the following is a typical indicator of successful theatre outreach in an educational setting?
a) Increase in spectator ticket prices only
b) Improvement in student participation, communication skills, curricular learning outcomes and wider community involvement
c) Only more elaborate costumes
d) Fewer school plays produced
Ans: b -
Which one is NOT a sound research method in theatre education?
a) Ethnography
b) Controlled laboratory chemical experiments unrelated to theatre
c) Practice-as-research (PaR)
d) Archival research
Ans: b -
Which of the following is most relevant when preparing a production for a multi-lingual school setting?
a) Ignoring language and only using complex dialogue
b) Use of translation, simple language, non-verbal storytelling, and inclusive participatory exercises
c) Only using original language irrespective of comprehension
d) Only imported texts with no adaptation
Ans: b -
Which of the following best describes “forum theatre”?
a) A classical Sanskrit performance ritual
b) An interactive form in Theatre of the Oppressed where audience members intervene and propose/act alternatives to a staged problem
c) A musical theatre format for kids
d) A proscenium production with no audience involvement
Ans: b -
Which of the following is primarily responsible for higher education accreditation and oversight related to university theatre programmes in India?
a) National School of Drama (NSD) only
b) University Grants Commission (UGC) and relevant universities/colleges under regulatory frameworks
c) Film studios
d) Theatre companies only
Ans: b -
Which of the following is an appropriate qualitative indicator to measure impact of a theatre outreach project?
a) Profit margins only
b) Participant narratives, observed behavioural change, community testimonials and follow-up interviews
c) Number of seats in the theatre only
d) Number of costume pieces used
Ans: b -
Which movement training approach emphasises economy of movement, precision, and codified physical actions often used in non-realistic performance?
a) Biomechanics (Meyerhold)
b) Pure Stanislavskian emotional recall only
c) Only vocal training
d) None of the above
Ans: a -
Which of these is a valid reason to include theatre in the primary school curriculum?
a) Only to train future actors
b) To develop language, social skills, confidence, creativity and critical thinking across subjects
c) Only to sell theatre tickets
d) Only to prepare students for commercial films
Ans: b -
Which organisation maintains lists of national awardees (Sangeet Natak Akademi Awards) and supports documentation?
a) An ad-hoc private group only
b) Sangeet Natak Akademi (SNA) under Ministry of Culture
c) Only foreign NGOs
d) Commercial social media influencers
Ans: b -
Which of the following best exemplifies an ethical community theatre project?
a) Using community stories without permissions for profit
b) Co-producing a show with community members, shared decision-making, capacity building and attribution
c) Outsourcing all creative decisions to an external director with no local input
d) Using community only as background extras
Ans: b -
Which of these is a primary consideration in designing a research proposal for PhD in theatre education?
a) The shopping list for props
b) Clear research question, literature review, methodology (fieldwork/PaR), ethical considerations and expected contribution to knowledge
c) Only the number of performances planned
d) Only the costume budget
Ans: b -
Which technique is particularly useful in TIE for rehearsing real-life decision making and civic behaviour?
a) Passive listening to lectures only
b) Role-play, simulations, and problem-based scenario enactments
c) Only costume painting
d) Only scenery painting
Ans: b -
Which term best describes the practice of documenting, archiving and digitising theatre performances and oral histories?
a) Production only
b) Performance documentation and digital archiving
c) Only costume storage
d) Only ticket copying
Ans: b -
Which pedagogy explicitly integrates local folk idioms with contemporary theatre practice for cultural relevance and pedagogy?
a) Exclusive Western conservatory training only
b) Theatre of Roots / folk-informed pedagogy used in many regional training programmes
c) Only film school curricula
d) Only corporate training modules
Ans: b -
Which of the following is the best indicator of a robust theatre research culture in a country?
a) Only high box office returns
b) Active peer-reviewed journals, research theses, conferences, funded projects and archival repositories
c) Only celebrity interviews on TV
d) Only fashion shows
Ans: b -
Which of the following research outputs would most likely be called practice-led scholarship?
a) A performance accompanied by a reflective critical exegesis submitted as a doctoral thesis
b) A one-line theatre review in a blog with no evidence
c) Only a costume drawing with no context
d) A private rehearsal diary not shared academically
Ans: a -
Which of the following is a common challenge in implementing theatre programmes in primary schools?
a) Lack of any educational benefit
b) Limited curricular time, insufficient teacher training in drama pedagogy, resource constraints and assessment pressures
c) Too many trained theatre teachers available
d) Abundance of rehearsal space
Ans: b -
Which of the following pairing is correct?
a) Augusto Boal — Biomechanics
b) Keith Johnstone — Improvisation and status work
c) Vsevolod Meyerhold — Theatre of the Oppressed
d) Bharata Muni — Poor Theatre
Ans: b -
Which of the following best describes a reflexive journal used in PaR?
a) A ledger of ticket sales only
b) A research tool where practitioner-researchers record observations, decisions, feelings and analytical reflections during creative practice
c) A certification of costume authenticity
d) A list of theatre donors
Ans: b -
Which Indian organisation is most associated with the promotion of regional theatre and festivals at state level?
a) Ministry of Finance only
b) State Sangeet Natak Akademis and State Cultural Departments
c) Only private film producers
d) Only sports federations
Ans: b -
Which of the following is the most appropriate research ethics consideration in theatre fieldwork?
a) Using hidden cameras without consent
b) Obtaining informed consent, ensuring confidentiality where required, and being culturally sensitive to participants
c) Publishing participants’ private data without permission
d) Falsifying interviews to enhance findings
Ans: b -
Which of the following teaching resources is most useful when introducing primary school children to theatre?
a) Dense theoretical monographs only
b) Storybooks, puppets, simple scripts, theatre games and play-based activities
c) Only academic journal articles
d) Expensive large scale sets
Ans: b -
Which approach would you use to study the impact of a theatre project on community health awareness?
a) Only secondary data from unrelated industries
b) Mixed methods — pre-/post surveys, focus groups, qualitative interviews, participant observation and process documentation
c) Only ticket revenue measurement
d) Only costume sales tracking
Ans: b -
Which theatre practitioner is credited with professionalising theatre training at NSD and bringing modern production standards to Indian theatre?
a) Ebrahim Alkazi
b) Rustom Bharucha
c) Bharata Muni
d) Keith Johnstone
Ans: a -
Which of the following is a central feature of feminist theatre practice used in pedagogy?
a) Reproducing patriarchal narratives without critique
b) Autobiographical testimony, collective devising, critique of gender hierarchies and embodied methodologies
c) Only male ensemble training
d) Only rigid classical replication
Ans: b -
Which of the following funding sources is increasingly important for sustaining theatre projects in India post-1990s?
a) Only state grants
b) Corporate CSR funding and private foundations alongside government grants
c) Only box office income
d) Only ticket resales
Ans: b -
Which is an example of ethical community engagement in theatre pedagogy?
a) Extracting stories and leaving without feedback or benefit to participants
b) Engaging communities as co-creators, capacity building, crediting sources, and sharing project benefits
c) Using participants only as unpaid extras for profit
d) Only staging performances for external VIPs
Ans: b -
Which of the following best captures a core objective of research in theatre education?
a) Only making commercial productions
b) Advancing understanding of learning processes, methods of pedagogy, and evidencing impact of drama in educational/social contexts
c) Only copying foreign curricula
d) Only marketing theatre shows
Ans: b -
Which of the following is a key advantage of using theatre games in classroom pedagogy?
a) Encouraging passive listening
b) Fostering spontaneity, cooperation, creativity and communication skills among learners
c) Reducing student participation
d) Replacing literacy learning entirely
Ans: b -
Which of the following would be the best empirical indicator for success of a TIE programme on environmental awareness?
a) Number of costumes used in the production
b) Pre/post knowledge test scores, observed behavioural changes, and follow-up community actions related to environmental practices
c) Number of social media followers for the school only
d) Box office revenue alone
Ans: b -
Which of the following research outputs would most likely require ethics committee clearance?
a) Analysis of publicly available archived texts only
b) Research involving minors as participants in theatre workshops and collecting personal data
c) Only reading classical plays alone
d) Only scanning public posters without interaction
Ans: b -
Which actor-training method emphasises “given circumstances”, objectives and the actor’s truthful inner life?
a) Meyerhold’s biomechanics
b) Stanislavsky system / Method foundations
c) Grotowski’s poor theatre only
d) Kabuki stylisation only
Ans: b -
Which of the following best describes a “performance ethnography”?
a) A purely quantitative study using only structured surveys
b) An approach where ethnographic methods are used to study performance contexts and where the research may itself be performative or reflexive
c) Only costume inventories
d) Only ticket sales analysis
Ans: b -
Which of the following is a recommended way to sustain theatre education programmes in schools?
a) Rely solely on single-event funding
b) Integrate drama into the curriculum, build teacher capacity through continuous professional development and secure multi-year funding partnerships
c) Only permit external companies to run one-off shows with no follow up
d) Avoid parental engagement entirely
Ans: b -
Which of the following is a common form of dissemination for theatre research?
a) Peer-reviewed journals, edited volumes, conference presentations, performance presentations with exegesis and digital archives
b) Only private diary entries not shared publicly
c) Only gossip columns
d) Only ticket stubs
Ans: a -
Which of the following best characterises an action research cycle used in theatre pedagogy?
a) Planning → Action → Observation → Reflection, repeated iteratively to refine practice
b) Only final performance without iteration
c) Only theoretical reading without practice
d) Only administrative paperwork
Ans: a -
Which of these statements is true about theatre pedagogy at tertiary level?
a) It excludes research skills entirely
b) It integrates practice, theory and research including methodology training and production projects
c) It is identical to primary school drama activities
d) It focuses exclusively on box office management
Ans: b -
Which of the following is most likely to be funded by a cultural grant for theatre research?
a) A documentation and digitisation project for endangered folk theatre forms
b) Only a private wedding performance
c) Only sports events
d) Only private parties
Ans: a -
Which of the following is a recognized challenge specific to PaR (practice-as-research) in theatre?
a) Clear signposting of research questions and making practice legible as research, assessment criteria for creative outputs, and ethical concerns in documenting participants
b) No need for methodology at all
c) Only purely numerical data suffices
d) No dissemination required
Ans: a -
Which of the following is a common indicator of collaborative pedagogy in theatre schools?
a) Solo lectures only with no practice
b) Cross-disciplinary projects, ensemble devising, regular production cycles involving students as practitioners and researchers
c) Only theoretical exams with no practical component
d) No assessment of learning outcomes
Ans: b -
Which of the following is most appropriate when designing a theatre workshop for illiterate adult learners?
a) Rely primarily on text-heavy scripts
b) Use image, movement, role-play, story circles and participatory methods that do not depend on literacy
c) Only assign lengthy reading homework
d) Only use written exams to assess learning
Ans: b -
Which of the following indicates good practice in archiving performance materials?
a) Storing materials haphazardly in any available location
b) Systematic cataloguing, metadata creation, high-quality digitisation, backups and access policies respecting copyright and participant consent
c) Only keeping ticket stubs in shoeboxes without records
d) Posting raw materials online without permissions
Ans: b -
Which of the following is a formative assessment tool in theatre education?
a) Final exam only
b) Continuous feedback, rehearsal notes, peer review, reflective journals and incremental performance tasks
c) Only year-end public performance with no feedback
d) Only attendance register
Ans: b -
Which of the following is true of integrating folk forms into contemporary theatre pedagogy?
a) It should be avoided entirely
b) It provides cultural specificity, rhythmic and musical vocabularies, ensemble models and community engagement opportunities when practised respectfully and contextually
c) It replaces all modern methods and is mandatory everywhere
d) It is only for costume design classes
Ans: b -
Which of the following best reflects an interdisciplinary research project in theatre?
a) A project combining theatre practice with public health education to examine behaviour change using workshops, performances and evaluation metrics
b) A project only about box office data
c) A project only on painting unrelated to theatre
d) A project selling theatre merchandise online
Ans: a -
Which of the following is the best immediate first step when planning a community theatre project?
a) Booking the largest theatre in a city before talking to community members
b) Conducting initial consultations with community stakeholders to identify needs, interests and ethical considerations
c) Only writing a press release first
d) Immediately staging a large commercial show for profit
Ans: b -
Which of the following best summarises the rationale for including theatre in school curricula according to education research?
a) Theatre only trains future actors
b) Theatre supports holistic development — language, social skills, empathy, creativity, critical thinking and emotional intelligence — and can be integrated across subjects
c) Theatre is only a leisure activity with no educational value
d) Theatre distracts from core subjects and should be excluded
Ans: b -
Which of the following constitutes a rigorous final submission for a PhD in Theatre Education using PaR?
a) A video of a devised production accompanied by a 60–100 page written exegesis that situates practice within scholarly literature, methodology, analysis and contribution to knowledge
b) Only a short tweet about a rehearsal
c) A private scrapbook not shared or assessed
d) Only a poster with no theoretical underpinning
Ans: a