MCQs on Epic Theatre
1. Who is considered the founder of Epic Theatre?
a. Anton Chekhov
b. Bertolt Brecht
c. August Strindberg
d. Samuel Beckett
2. Epic Theatre aims to:
a. Engage the audience emotionally
b. Create a passive spectatorship
c. Encourage critical thinking
d. Emphasize traditional storytelling
3. In Epic Theatre, the “alienation effect” is used to:
a. Create emotional identification
b. Distance the audience from the characters
c. Enhance realism
d. Minimize social critique
4. Which of the following is a key element of Epic Theatre?
a. Emotional catharsis
b. Suspenseful plot
c. Verfremdungseffekt (alienation effect)
d. Unbroken fourth wall
5. The term “Verfremdungseffekt” refers to:
a. Realistic acting
b. Emotional immersion
c. Alienation effect
d. Greek chorus
6. Epic Theatre often uses:
a. Circular narrative structures
b. Linear narrative structures
c. Tragic endings
d. Minimalist sets
7. Which play by Bertolt Brecht is considered a classic example of Epic Theatre?
a. A Doll’s House
b. Waiting for Godot
c. The Threepenny Opera
d. Long Day’s Journey into Night
8. Epic Theatre is influenced by the ideas of:
a. Sigmund Freud
b. Jean-Paul Sartre
c. Karl Marx
d. Albert Camus
9. The concept of “Gestus” in Epic Theatre refers to:
a. Theatrical gestures
b. Hidden meanings in dialogue
c. Distanced actingMCQs on Epic Theatre
d. Physical set design
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10. Which of the following is a Brechtian technique used to break the illusion of reality?
a. Soliloquy
b. MontageMCQs on Epic Theatre
c. Tableau
d. Direct address
11. In Epic Theatre, the chorus is employed to:
a. Create emotional engagement
b. Provide background music
c. Comment on the action
d. Maintain a realistic atmosphere
12. The term “epic” in Epic Theatre refers to:
a. Grand scale productions
b. Epic poems and stories
c. Emotional intensity
d. Mythological themes
13. Who collaborated with Bertolt Brecht on several of his works, including “Mother Courage and Her Children”?
a. Samuel Beckett
b. Erwin Piscator
c. August Strindberg
d. Anton Chekhov
14. Epic Theatre seeks to:
a. Reinforce existing social norms
b. Challenge and critique societal norms
c. Emphasize individual psychological conflicts
d. Depict idealized romantic relationships
15. Brecht’s concept of “Epic Realism” emphasizes:
a. Faithfulness to historical accuracy
b. Emotional authenticity
c. The representation of everyday life
d. Theatrical spectacle
16. The use of placards, projections, and captions on stage is a characteristic of:
a. Absurdist Theatre
b. Epic Theatre
c. Naturalistic Theatre
d. Symbolist Theatre
17. Brecht’s theory of “culinary theatre” suggests:
a. The use of food in performances
b. The importance of sensory experiences
c. The need for spectacle in theatre
d. A focus on everyday activities
18. Which play by Bertolt Brecht explores the effects of war on society and individuals?
a. The Glass Menagerie
b. Mother Courage and Her Children
c. The Cherry Orchard
d. The Importance of Being EarnestMCQs on Epic Theatre
19. The “fourth wall” in theatre refers to:
a. The imaginary barrier separating the stage from the audience
b. The physical set design
c. The use of metaphorical walls in dialogue
d. The division between acts in a playMCQs on Epic Theatre
20. Epic Theatre often involves:
a. Realistic character developmentMCQs on Epic Theatre
b. The use of song and music
c. Escapist plots
d. Fixed and unchanging perspectives
21. Brecht’s “Mother Courage and Her Children” is set during which historical conflict?
a. World War I
b. The Cold War
c. The Thirty Years’ War
d. The French Revolution
22. The concept of “montage” in Epic Theatre refers to:
a. A series of disconnected scenes or images
b. A continuous and seamless narrative
c. The use of intricate set designs
d. Theatrical improvisation
23. Epic Theatre challenges traditional Aristotelian dramatic structure by:
a. Focusing on catharsis
b. Breaking the unity of time, place, and action
c. Emphasizing emotional engagement
d. Following a linear narrative
24. Brecht’s “The Good Person of Szechwan” explores themes related to:
a. Romantic love
b. Social justice and morality
c. Existential despair
d. Historical events
25. The concept of “social gestus” in Epic Theatre refers to:
a. The physicality of actors
b. Social and political symbols in the play
c. The use of masks
d. Realistic dialogue
26. Which of the following is a Brechtian device used to interrupt the flow of the narrative and provide commentary?
a. Soliloquy
b. Monologue
c. Chorus
d. Intermezzo
27. Epic Theatre is often associated with:
a. Escapism
b. Aestheticism
c. Didacticism
d. Realism
28. Brecht’s “The Caucasian Chalk Circle” is inspired by a play by:
a. William Shakespeare
b. Anton Chekhov
c. Klabund
d. Sophocles
29. The use of historical and political events in Epic Theatre is meant to:
a. Provide entertainment
b. Educate and provoke thought
c. Create emotional catharsis
d. Emphasize individual struggles
30. Brecht’s concept of “A-effect” refers to:
a. Theatrical devices that heighten emotion
b. Alienation effect
c. Realistic acting techniques
d. The use of symbolism in set design
31. The term “Brechtian” is often used to describe:
a. Traditional theatre
b. Realist drama
c. Theatrical practices influenced by Brecht
d. Symbolist plays
32. Which of the following is a Brechtian play that explores the life of Galileo Galilei?
a. The Resistible Rise of Arturo Ui
b. The Threepenny Opera
c. Life of GalileoMCQs on Epic Theatre
d. The Caucasian Chalk Circle
33. Brecht’s theory of “Epic Theatre” was developed primarily in collaboration with:
a. Konstantin Stanislavski
b. Erwin Piscator
c. Augusto BoalMCQs on Epic Theatre
d. Jean Anouilh
34. Epic Theatre often employs:
a. Intense emotional acting
b. Linear and predictable narratives
c. The use of historical and political context
d. The avoidance of social critique
35. Brecht’s idea of “demonstrative theatre” involves:
a. Demonstrating technical prowess
b. Encouraging activism through theatre
c. Engaging the audience emotionally
d. Creating a passive spectatorship
36. The concept of “breaking the fourth wall” in Epic Theatre is related to:
a. Direct engagement with the audience
b. The use of realistic dialogue
c. Avoidance of spectacle
d. The emphasis on visual effects
37. Epic Theatre is often associated with:
a. Theatrical illusion
b. Emotional empathy
c. Political and social commentary
d. Escapist entertainment
38. The “Epic Theatre” movement emerged during the:
a. Renaissance
b. Enlightenment
c. 20th century
d. Romantic era
39. Which of the following is a Brechtian play that explores the rise of a fictional gangster?
a. The Resistible Rise of Arturo Ui
b. The Caucasian Chalk Circle
c. The Threepenny Opera
d. Life of Galileo
40. Brecht’s “The Resistible Rise of Arturo Ui” is a satirical play that:
a. Critiques the rise of fascism
b. Celebrates authoritarian rule
c. Romanticizes criminal life
d. Advocates for escapism
41. Epic Theatre often uses music to:
a. Enhance emotional engagement
b. Create a passive atmosphere
c. Provide background noise
d. Reinforce social critique
42. The term “Epic Theatre” is sometimes used interchangeably with:
a. Absurdist Theatre
b. Expressionist Theatre
c. Naturalistic Theatre
d. Classical Theatre
43. Brecht’s “The Threepenny Opera” is based on a work by:
a. William Shakespeare
b. Christopher Marlowe
c. John Gay
d. Molière
44. The “learning plays” by Bertolt Brecht are designed to:
a. Entertain the audience
b. Instruct and provoke thought
c. Evoke emotional catharsis
d. Emphasize individual struggles
45. Brecht’s concept of “Historification” involves:
a. Presenting historical events in a factual manner
b. Rewriting history to suit a narrative
c. Highlighting the universality of historical themes
d. Ignoring historical context in theatre
46. Which of the following is a Brechtian play that explores the life of a fictional Chinese woman?
a. Mother Courage and Her Children
b. The Good Person of SzechwanMCQs on Epic Theatre
c. The Threepenny Opera
d. Life of Galileo
47. In Epic Theatre, the use of episodic scenes allows for:
a. A continuous and seamless narrative
b. Disruption of the linear storyline
c. Emphasis on emotional intensity
d. Realistic character development
48. The term “Brechtian distancing” is synonymous with:
a. The alienation effect
b. Emotional immersion
c. Realistic acting
d. Theatrical illusion
49. Which of the following is a Brechtian play that explores the life of a woman who runs a tobacco shop?
a. The Good Person of Szechwan
b. Mother Courage and Her Children
c. The Threepenny Opera
d. In the Jungle of Cities
50. Epic Theatre is often associated with a rejection of:
a. Political critique
b. Didacticism
c. Traditional narrative structures
d. The use of music in theatre
Answer
1. b. Bertolt Brecht
2. c. Encourage critical thinking
3. b. Distance the audience from the characters
4. c. Verfremdungseffekt (alienation effect)
5. c. Alienation effect
6. d. Minimalist sets
7. c. The Threepenny Opera
8. c. Karl Marx
9. b. Hidden meanings in dialogue
10. d. Direct address
11. c. Comment on the action
12. b. Epic poems and stories
13. b. Erwin Piscator
14. b. Challenge and critique societal norms
15. c. The representation of everyday life
16. b. Epic Theatre
17. d. A focus on everyday activities
18. b. Mother Courage and Her Children
19. a. The imaginary barrier separating the stage from the audience
20. b. The use of song and musicMCQs on Epic Theatre
21. c. The Thirty Years’ War
22. a. A series of disconnected scenes or images
23. b. Breaking the unity of time, place, and actionMCQs on Epic Theatre
24. b. Social justice and morality
25. b. Social and political symbols in the playMCQs on Epic Theatre
26. c. Chorus
27. c. Didacticism
28. c. KlabundMCQs on Epic Theatre
29. b. Educate and provoke thought
30. b. Alienation effect
31. c. Theatrical practices influenced by Brecht
32. c. Life of Galileo
33. b. Erwin Piscator
34. c. The use of historical and political context
35. b. Encouraging activism through theatre
36. a. Direct engagement with the audience
37. c. Political and social commentary
38. c. 20th century
39. a. The Resistible Rise of Arturo Ui
40. a. Critiques the rise of fascism
41. a. Enhance emotional engagement
42. b. Expressionist Theatre
43. c. John Gay
44. b. Instruct and provoke thought
45. c. Highlighting the universality of historical themes
46. b. The Good Person of Szechwan
47. b. Disruption of the linear storyline
48. a. The alienation effect
49. a. The Good Person of Szechwan
50. c. Traditional narrative structures
