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

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

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

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

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

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

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

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

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

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

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

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

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

A) The speed at which the actor delivers their lines.
B) The reason behind a character's actions.
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 imaginary barrier between the actors and the audience.
C) The number of acts in the play.
D) A secret code used by the actors.

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

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

A) The director's financial dealings.
B) The cleaning of the stage after a performance.
C) Small actions performed by actors on stage.
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 type of music played during intermission.
B) The temperature of the theatre.
C) The type of lighting used on stage.
D) The overall speed or pace of a scene or the entire play.

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

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

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

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

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

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

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

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

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

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.