MCQs on the Theatre of Cruelty
1. Who is the founder of the Theatre of Cruelty movement?
a. Antonin Artaud
b. Bertolt Brecht
c. Samuel Beckett
d. Eugene Ionesco
2. In which year did Antonin Artaud first introduce the term “Theatre of Cruelty”?
a. 1910
b. 1920
c. 1930
d. 1940
3. The Theatre of Cruelty emphasizes:
a. Realism
b. Symbolism
c. Surrealism
d. Ritualistic and non-realistic elements
4. According to Artaud, what is the purpose of the Theatre of Cruelty?
a. Entertainment
b. Education
c. Liberation of the subconscious
d. Political activism
5. Artaud believed that conventional language is inadequate for expressing certain truths. What term did he use for this limitation?
a. Logocentrism
b. Phonocentrism
c. Aphasia
d. Dérive
6. Which famous play by Antonin Artaud is often considered a manifesto for the Theatre of Cruelty?
a. The Cenci
b. The Seagull
c. The Threepenny Opera
d. The Baladins of the Whistle
7. The Theatre of Cruelty seeks to engage the audience on a visceral and emotional level through:
a. Logical arguments
b. Sensory experiences
c. Historical narratives
d. Abstract concepts
8. What element is central to the Theatre of Cruelty’s performances, involving the use of masks, music, and movement?
a. Verbal communication
b. Spectacle
c. Realism
d. Soliloquies
9. Artaud believed in the power of what to break down the barriers between the performer and the audience?
a. Lighting
b. Sound
c. Silence
d. Subtitles
10. Which term did Artaud use to describe the intense physical and emotional experience he wanted the audience to undergo?
a. Theatre of Absurd
b. Theatre of Violence
c. Theatre of Spectacle
d. Theatre of Cruelty
11. According to Artaud, what is the “cruelty” in the Theatre of Cruelty?
a. Physical violence
b. Emotional intensity
c. Intellectual challenge
d. Aesthetic beauty
12. Artaud proposed the idea of a “double” in the Theatre of Cruelty. What does this term refer to?
a. Twin characters in a play
b. A mirrored stage design
c. The duality of human nature
d. A second performance immediately following the first
13. Which influential director embraced the ideas of the Theatre of Cruelty and incorporated them into his productions?
a. Konstantin Stanislavski
b. Jerzy Grotowski
c. Peter Brook
d. Robert Wilson
14. Artaud’s manifesto on the Theatre of Cruelty was published in a collection titled:
a. “Theatre and Its Double”
b. “The Cruel Stage”
c. “The Absurd Theatre”
d. “Theatrical Manifestos”
15. What is the role of the “actor” in the Theatre of Cruelty?
a. To portray realistic characters
b. To deliver poetic monologues
c. To serve as a medium for intense energy and presence
d. To engage in elaborate costume changes
16. Artaud was strongly influenced by the traditional performance rituals of which culture?
a. Ancient Greek
b. Japanese Noh
c. Indian KathakaliMCQs on the Theatre of Cruelty
d. Chinese Opera
17. The Theatre of Cruelty aimed to create a collective experience by breaking down the distinction between:
a. Actors and directors
b. Performers and audience
c. Comedies and tragediesMCQs on the Theatre of Cruelty
d. Main characters and supporting characters
18. In the Theatre of Cruelty, what did Artaud propose as an alternative to linear and rational thought?
a. Symbolic language
b. Stream of consciousnessMCQs on the Theatre of Cruelty
c. Non-sequential narrative
d. Socratic dialogue
19. Which of the following is NOT a characteristic of the Theatre of Cruelty?
a. Minimalism
b. Realism
c. Ritualistic elements
d. Intense physicality
20. Artaud’s Theatre of Cruelty has had a lasting impact on which artistic forms?
a. Literature
b. Film
c. Visual arts
d. All of the above
21. What role does music play in the Theatre of Cruelty performances?
a. Background noise
b. Ambient atmosphere
c. Integral part of the experience
d. Optional addition
22. Artaud believed that the modern world had lost touch with its primitive, ritualistic roots. What term did he use to describe this loss?
a. Civilization
b. Decadence
c. Alienation
d. DisenchantmentMCQs on the Theatre of Cruelty
23. What did Artaud propose as a way to reawaken a sense of primal, instinctual reality in the Theatre of Cruelty?
a. Technological innovations
b. Surrealistic imagery
c. Psychoanalytical exploration
d. Cruel and violent gestures
24. In the Theatre of Cruelty, what is the significance of the “plague” metaphor used by Artaud?
a. Social criticism
b. Symbol of chaos and disorder
c. Reflection on mortality
d. All of the above
25. Artaud believed that the Theatre of Cruelty should operate outside the realm of:
a. Morality
b. Aesthetics
c. Politics
d. Tradition
26. The Theatre of Cruelty was part of a broader artistic and philosophical movement known as:
a. Surrealism
b. Existentialism
c. Dadaism
d. Absurdism
27. Artaud’s ideas on the Theatre of Cruelty were influenced by his personal experiences with:
a. War
b. Mental illness
c. Poverty
d. All of the above
28. What term did Artaud use to describe the primitive energy he sought to unleash in his performances?
a. Orgasmic vitality
b. Cosmic resonance
c. Solar force
d. Earthly resonance
29. The Theatre of Cruelty was met with resistance and criticism from traditional theatre practitioners. What aspect of the movement was particularly controversial?
a. Its rejection of narrative
b. Its emphasis on physicality
c. Its challenge to established norms
d. Its use of masksMCQs on the Theatre of Cruelty
30. Artaud’s concept of the “body without organs” in the Theatre of Cruelty is influenced by the ideas of which philosopher?
a. Friedrich Nietzsche
b. Jean-Jacques Rousseau
c. Sigmund FreudMCQs on the Theatre of Cruelty
d. Albert Camus
31. What did Artaud advocate for in terms of the architecture of the theatrical space in the Theatre of Cruelty?
a. Proscenium stage
b. Thrust stage
c. Arena stage
d. Immersive and disorienting spaces
32. The Theatre of Cruelty aimed to transcend the boundaries of traditional drama by creating a form of:
a. Total theatre
b. Minimalist theatre
c. Epic theatre
d. Absurd theatre
33. What is the significance of the “double” in Artaud’s Theatre of Cruelty?
a. Dual characters in a play
b. Mirror image of the self
c. Second performance that mirrors the first
d. All of the above
34. Artaud’s vision of the Theatre of Cruelty involved a rejection of:
a. Visual elements
b. Sound elements
c. The written word
d. Physical movement
35. The Theatre of Cruelty aimed to provoke a response from the audience that transcends:
a. Emotional detachment
b. Intellectual analysis
c. Aesthetic appreciation
d. Moral judgment
36. Artaud’s influence on modern theatre can be seen in the works of which contemporary playwrights?
a. Harold Pinter
b. Samuel Beckett
c. Edward Albee
d. All of the above
37. Artaud believed that the Theatre of Cruelty could serve as a form of:
a. Therapy
b. Propaganda
c. Entertainment
d. Catharsis
38. What role did Artaud assign to the audience in the Theatre of Cruelty?
a. Passive spectators
b. Collaborators in the performance
c. Critics and judges
d. Decision-makers for the plot
39. Artaud’s writings on the Theatre of Cruelty were influenced by his interest in:
a. Anthropology
b. Psychology
c. PhilosophyMCQs on the Theatre of Cruelty
d. All of the above
40. The Theatre of Cruelty sought to break down the barrier between the conscious and the:
a. Subconscious
b. UnconsciousMCQs on the Theatre of Cruelty
c. Collective unconscious
d. Superego
41. Artaud’s notion of “cruelty” in the Theatre of Cruelty can be understood as:
a. Physical harm
b. Emotional intensity
c. Aesthetic beauty
d. All of the above
42. Artaud’s call for a “Theatre of Cruelty” was a response to the perceived shortcomings of:
a. Naturalism
b. Realism
c. Expressionism
d. Symbolism
43. What is the significance of Artaud’s concept of “cruelty” in the context of the Theatre of Cruelty?
a. A call for violent acts on stage
b. A rejection of traditional morality
c. A quest for a higher form of truth and reality
d. A critique of audience behavior
44. Artaud’s interest in the Theatre of Cruelty was shaped by his experiences in which psychiatric institution?
a. Sainte-Anne
b. Bethlem Royal Hospital
c. La Salpêtrière
d. Bedlam Hospital
45. The Theatre of Cruelty aimed to create a sense of:
a. Comfort and familiarity
b. Disorientation and chaos
c. Sentimentality and nostalgia
d. Stability and order
46. Artaud’s ideas on the Theatre of Cruelty were influenced by his rejection of which cultural and intellectual movement?
a. Romanticism
b. Renaissance
c. Enlightenment
d. Baroque
47. What did Artaud believe was essential for a true theatrical experience in the Theatre of Cruelty?
a. Elaborate costumes
b. A well-constructed plot
c. The presence of the sacred and the transcendent
d. A sense of humor
48. Which term did Artaud use to describe the oppressive societal structures that he sought to break down through the Theatre of Cruelty?
a. The establishment
b. The system
c. The regime
d. The hierarchy
49. Artaud’s concept of the “body without organs” is closely related to the ideas of which psychoanalyst?
a. Sigmund Freud
b. Carl Jung
c. Jacques Lacan
d. Wilhelm Reich
50. What did Artaud believe was lacking in traditional theatre, leading him to advocate for the radical ideas of the Theatre of Cruelty?
a. Emotional intensity
b. Aesthetic beauty
c. Political engagement
Answer
1. a. Antonin Artaud
2. c. 1930
3. d. Ritualistic and non-realistic elements
4. c. Liberation of the subconscious
5. b. Phonocentrism
6. a. The Cenci
7. b. Sensory experiences
8. b. Spectacle
9. c. Silence
10. d. Theatre of Cruelty
11. b. Emotional intensityMCQs on the Theatre of Cruelty
12. c. The duality of human nature
13. c. Peter BrookMCQs on the Theatre of Cruelty
14. a. “Theatre and Its Double”
15. c. To serve as a medium for intense energy and presence
16. b. Japanese Noh
17. b. Performers and audience
18. b. Stream of consciousnessMCQs on the Theatre of Cruelty
19. b. Realism
20. d. All of the above
21. c. Integral part of the experience
22. b. Decadence
23. d. Cruel and violent gestures
24. d. All of the above
25. a. Morality
26. a. Surrealism
27. d. All of the above
28. c. Solar force
29. c. Its challenge to established norms
30. a. Friedrich Nietzsche
31. d. Immersive and disorienting spaces
32. a. Total theatre
33. d. All of the above
34. b. Sound elements
35. b. Intellectual analysis
36. d. All of the above
37. a. Therapy
38. b. Collaborators in the performance
39. d. All of the above
40. a. Subconscious
41. d. All of the above
42. b. Realism
43. c. A quest for a higher form of truth and reality
44. a. Sainte-Anne
45. b. Disorientation and chaos
46. a. Romanticism
47. c. The presence of the sacred and the transcendent
48. b. The system
49. d. Wilhelm Reich
50. d. All of the above
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