Theatre practitioners and styles overview quiz - Edexcel GCSE Drama quiz

An imaginary wall between stage and audience that actors do not acknowledge, used in naturalism

A real solid wall built at the front of the stage that is used in every single play that is staged

A particular type of stage lighting effect that is only ever used in non-naturalistic theatre

The back wall at the rear of the theatre building, used mainly in epic theatre

A detailed and realistic stage set

Direct address to the audience

Acting behind the fourth wall

Believable everyday spoken dialogue

To make the audience cry

To make the audience believe the characters are real

To make the audience think critically about society

To entertain without any message

Making the audience feel deeply sorry for and fully absorbed in a character

Turning all the stage lights off completely during the performance

A naturalistic acting technique used to build empathy

Reminding the audience they are watching a play so they stay analytical

Episodic structure with placards and narration

The magic if exercise used by the actor

Drawing on emotional memory to act truthfully

Following the character's through line of action

A particular type of dramatic stage lighting effect

Imagining how you would behave if you were the character in their situation

A deliberate way of breaking the fourth wall to address the watching audience directly

A Brechtian placard held up to the audience

The complete lighting and sound design plan that is drawn up for the whole production by the team

The expectations that the watching audience brings with them to the theatre on the night

All the facts of the character's situation: who, where, when, what has happened, what they want

Only the personal notes written down by the director during rehearsals

They both share exactly the same aim for their audiences in the theatre at all times

Both of them want the actors to break the fourth wall during every performance they give

Both of them want the watching audience to be completely and totally absorbed in the emotion of the characters

Stanislavski wants belief and empathy through truth; Brecht wants critical distance so the audience thinks

Freezes a charged moment or theme so the audience absorbs it

Speeds up the pace of the action on stage

Changes the colour of the stage lighting to set a different mood for the scene

Adds extra spoken dialogue to a scene

It is not better at all; simply naming the right practitioner is the thing that earns you the marks in this exam

The marks come from applying concrete techniques and linking them to their effect, not from mentioning the name

The names of theatre practitioners are completely banned from the written exam answers

Naming the techniques is simply a much quicker thing to do under timed exam conditions

Stanislavski

Neither

Brecht

Both equally