A) His influence was confined exclusively to the 20th century. B) Most playwrights were unaware of his techniques. C) His influence was strictly limited to comedy writers. D) Even those who reacted against his work were influenced by it.
A) Through his craftsmanship. B) Through prefaces attached to his published plays. C) Through a series of detailed manifestos. D) Through academic lectures delivered at universities.
A) Moral instruction and self-improvement. B) Diversion and distraction. C) The depiction of everyday life. D) The presentation of objective truth.
A) Fiction. B) Historical accuracy. C) Social realism. D) Political commentary.
A) Scientific facts. B) Instructional narratives. C) Daily mundane activities. D) The extraordinary and the romantic.
A) To create didactic, thesis plays. B) To remove the element of fiction. C) To focus exclusively on farce. D) To abandon moral positions entirely.
A) To copy Scribe's exact subject matter. B) To force discussion on social problems and revise laws. C) To avoid addressing political issues in his writing. D) To strictly entertain audiences without moral messaging.
A) To address contemporary social issues. B) To reject all moral positions. C) To write plays that were intentionally confusing. D) To write exclusively about romantic adventures.
A) He refused to use the well-made play structure. B) He declared his moral position less forcefully. C) He was entirely neutral on all social issues. D) He was much more radical and forceful.
A) Alexandre Dumas, fils. B) Eugène Labiche. C) Emile Augier. D) Victorien Sardou.
A) His total abandonment of Scribe's methods. B) His focus on heavy, non-fictional philosophy. C) His willingness to break all theatrical rules. D) A well-developed sense of theatre and meticulous craftsmanship.
A) It was praised as the only valid form of truth. B) It was immediately forgotten by all authors. C) It became the only acceptable way to write. D) There was a reaction against his formulaic precepts.
A) Tragedy. B) Non-fiction documentaries. C) Political polemics. D) Farce.
A) Dumas, fils, and Augier. B) Scribe and Sardou only. C) Carlson and Howarth. D) Labiche, Hennequin, and Feydeau.
A) They refreshed the content of the plots. B) They made the plays significantly shorter. C) They stopped using fiction in their plays. D) They discarded the structure entirely.
A) Francisque Sarcey B) Eugène Scribe C) Henrik Ibsen D) Oscar Wilde
A) 19th century B) 17th century C) 20th century D) 18th century
A) quiproquo B) la pièce bien faite C) la scène à faire D) la nouvelle vague
A) Deep characterization B) Concise plotting C) Focus on naturalism D) Complex intellectual ideas
A) Working classes B) Aristocracy C) Middle classes D) Intellectual elite
A) Only ten B) Several hundred C) Fewer than fifty D) Exactly one thousand
A) Francisque Sarcey B) Alexandre Dumas fils C) Eugène Scribe D) Stephen Stanton
A) The final monologue B) The character introduction C) The opening act D) The obligatory scene
A) Expressionist B) Neoclassical C) Romanticism D) Absurdist
A) Plato B) Socrates C) Epicurus D) Aristotle
A) 2,000 years B) 1,000 years C) 500 years D) 1,500 years
A) Mimesis B) Verisimilitude C) Didacticism D) Catharsis
A) 1738 B) 1638 C) 1538 D) 1683
A) Théâtre du Marais B) Boulevard du Temple C) Théâtre de la Ville D) Comédie Française
A) Racine B) Aristotle C) Corneille D) Molière
A) Académie Française B) Royal Palace C) The Latin Quarter D) Boulevard du Temple
A) 1967 B) 1861 C) 1791 D) 1815
A) A later critic B) Eugène Scribe C) John Russell Taylor D) The Théâtre du Gymnase
A) Romantic poetry B) Collaborators C) Solo authorship D) Historical documents
A) Tragedy B) Melodrama C) Satire D) Vaudeville
A) A master watch B) A classical painting C) A blooming flower D) A ship at sea
A) Non-musical plays B) Operas C) Neoclassical tragedies D) Vaudeville sketches
A) Dion Boucicault B) T. W. Robertson C) Edward Bulwer-Lytton D) W. S. Gilbert
A) Engaged B) The Importance of Being Earnest C) The Second Mrs Tanqueray D) Widowers' Houses
A) Somerset Maugham B) Bernard Shaw C) Arthur Miller D) Noël Coward
A) Terence Rattigan B) Tom Taylor C) Arthur Wing Pinero D) W. S. Gilbert
A) Watch on the Rhine B) All My Sons C) The Little Foxes D) The Second Mrs Tanqueray
A) Harold Pinter B) Terence Rattigan C) Noël Coward D) Somerset Maugham
A) Simon Gray B) Michael Frayn C) Noël Coward D) Harold Pinter
A) Lillian Hellman B) Tom Taylor C) George Odell D) Arthur Miller
A) Engaged B) Widowers' Houses C) The Importance of Being Earnest D) All My Sons
A) Comedies B) Operas C) Serious works D) Tragedies
A) George Bernard Shaw B) Dumas fils C) Henrik Ibsen D) Milton Crane
A) Plot-focused nonsense B) Sardoodledom C) Scribean-ism D) The French Trap
A) Hedda Gabler B) Pygmalion C) A Glass of Water D) The Lady of the Camellias
A) Eugène Scribe B) Victorien Sardou C) Henrik Ibsen D) Honoré de Balzac
A) Eugène Scribe B) Dumas fils C) Milton Crane D) George Bernard Shaw |