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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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