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) Writing the play.
C) Choosing the theatre's paint color.
D) Thorough script analysis.

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

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

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

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

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

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

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

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

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

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

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

A) The imaginary barrier between the actors and the audience.
B) The wall at the back of the stage.
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 create a captivating and engaging theatrical experience.
D) To limit the number of scene changes.

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

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

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

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

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

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

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

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 signal the end of the play.
D) To allow the audience to fall asleep.

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

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

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

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