A) Selling tickets to the show.
B) Interpreting and realizing the play's script on stage.
C) Building the set.
D) Designing the costumes.

A) Ordering catering for rehearsals.
B) Choosing the theatre's paint color.
C) Thorough script analysis.
D) Writing the play.

A) Creating a physical barrier on stage.
B) Preventing actors from seeing each other.
C) The color scheme of the set.
D) The actors' movements on stage.

A) The director's personal diary about the play.
B) A summary of the play's plot.
C) A unifying idea that shapes the production's interpretation.
D) A detailed list of props.

A) Implement them without question.
B) Reject them immediately.
C) Consider them thoughtfully and respectfully.
D) Publicly ridicule them.

A) Auditioning new actors.
B) Integrating technical elements (lights, sound, etc.) with the performance.
C) Having a cast party.
D) Rehearsing lines one last time.

A) The cost of the production.
B) The speed and rhythm of the play's action.
C) The size of the theatre.
D) The number of acts in the play.

A) The play's title.
B) The actors' costumes.
C) The unspoken meaning beneath the dialogue.
D) The stage directions written in italics.

A) Selling advertising space in the program.
B) Selecting the actors who best fit the roles.
C) Designing the playbill.
D) Constructing the set.

A) To effectively work with designers, actors, and crew.
B) To avoid making any personal decisions.
C) Because the director lacks any creative vision.
D) To delegate all responsibilities to others.

A) The amount of furniture on stage.
B) An actor's ability to command attention on stage.
C) The director's personal style.
D) The color of the stage floor.

A) A book of inspirational quotes for the actors.
B) A book of jokes to tell during rehearsals.
C) A collection of play reviews.
D) A complete record of the production, including blocking and notes.

A) To decide which costumes to throw away.
B) To run the show as if it were a performance with costumes and makeup.
C) To practice folding the costumes neatly.
D) To have a costume parade.

A) The reason behind a character's actions.
B) The actor's mode of transportation to the theatre.
C) The actor's payment.
D) The speed at which the actor delivers their lines.

A) A secret code used by the actors.
B) The number of acts in the play.
C) The wall at the back of the stage.
D) The imaginary barrier between the actors and the audience.

A) To ensure all actors speak at the same volume.
B) To create a captivating and engaging theatrical experience.
C) To limit the number of scene changes.
D) To make sure the audience knows what time it is.

A) To rewrite the play based on audience reactions.
B) To fire actors who made mistakes.
C) To provide occasional notes, but primarily step back.
D) To personally greet every audience member after the show.

A) The selling of tickets at the box office.
B) The cleaning of the stage after a performance.
C) The director's financial dealings.
D) Small actions performed by actors on stage.

A) When the audience knows something the characters do not.
B) When the actors forget their lines.
C) When the costumes are too small.
D) When the lights malfunction during a performance.

A) The type of lighting used on stage.
B) The temperature of the theatre.
C) The overall speed or pace of a scene or the entire play.
D) The type of music played during intermission.

A) Only give positive feedback, even if it's not warranted.
B) Publicly and harshly.
C) Avoid giving feedback altogether.
D) Constructively and specifically.

A) A type of French dessert.
B) The director's autobiography.
C) The arrangement of scenery and stage properties in a play.
D) The French term for 'thank you'.

A) A bulletin board for posting announcements to the cast and crew.
B) A stage prop resembling a telephone.
C) A type of bird that lives in the theatre.
D) A list of phone numbers of potential investors.

A) Looking at the audience directly.
B) Stealing props from the set.
C) Trying to get away with not rehearsing.
D) Angling one's body slightly toward the audience.

A) To make the actors look as attractive as possible.
B) To make sure all characters are completely unlikeable.
C) To use character development only to bore the audience.
D) To create believable and compelling characters.

A) To signal the end of the play.
B) To allow the audience to fall asleep.
C) To emphasize emotions or create tension.
D) To indicate that the actors have forgotten their lines.

A) A type of pool stick.
B) A musical instrument.
C) A signal for an actor or technician to perform an action.
D) A line of dialogue that is often forgotten.

A) The script cover's color.
B) The physical spine of the director.
C) The playwright's preferred method of writing.
D) The central action or driving force of the play.

A) A curtain call.
B) A flub.
C) A perfect take.
D) An encore.

A) The area of the theatre where the audience sits.
B) The theatre's administrative office.
C) The place where the actors live during the production.
D) The stage itself.