AZ049 Arizona Theater
,QUESTIONS
Question 1
Which description accurately connects an activity with “Modern, Contemporary,
and Global Theater Traditions”?
A. 20th-century avant-garde movements (e.g., expressionism, theater of the absurd, epic
theater, surrealism)
B. Roles and responsibilities of the stage manager across pre-production, rehearsal,
performance, and strike
C. Character development, dialogue creation, theme exploration, and subtext analysis
D. Physical expression, movement, stage combat, blocking, and body awareness
Correct Answer: A
Full Explanation: Modern, Contemporary, and Global Theater Traditions: 20th-century
avant-garde movements (e.g., expressionism, theater of the absurd, epic theater, surrealism). B:
This describes “Stage Management and Theater Operations”, rather than the requested focus. C:
This describes “Playwriting and Dramatic Structure”, rather than the requested focus. D: This
describes “Acting and Performance Techniques”, rather than the requested focus.
Question 2
Two requirements must be assigned in order: (1) “Critical theories and
frameworks for evaluating dramatic texts and live performances”; (2)
“Historical research, fabric selection, garment construction, tailoring, and
alteration”. Which pair of focus areas fits them?
A. First: Dramatic Criticism and Analysis; second: Dramatic Criticism and Analysis
B. First: Costume, Makeup, and Wig Design; second: Costume, Makeup, and Wig Design
C. First: Dramatic Criticism and Analysis; second: Costume, Makeup, and Wig Design
D. First: Costume, Makeup, and Wig Design; second: Dramatic Criticism and Analysis
Correct Answer: C
Full Explanation: Dramatic Criticism and Analysis: Critical theories and frameworks for evaluating
dramatic texts and live performances. Costume, Makeup, and Wig Design: Historical research,
fabric selection, garment construction, tailoring, and alteration. A: Repeating the first assignment
leaves the second requirement without its own matching focus. B: Repeating the second
assignment does not address the first requirement. D: The two roles are reversed: the first
assignment belongs with the second focus, and vice versa.
2
,QUESTIONS
Question 3
One review addresses “Critical theories and frameworks for evaluating
dramatic texts and live performances”; another addresses “Lighting
instruments, control consoles, instrument schedules, magic sheets, and cue
plotting”. Which sequence of topics preserves that distinction?
A. First: Lighting and Sound Design; second: Dramatic Criticism and Analysis
B. First: Dramatic Criticism and Analysis; second: Dramatic Criticism and Analysis
C. First: Lighting and Sound Design; second: Lighting and Sound Design
D. First: Dramatic Criticism and Analysis; second: Lighting and Sound Design
Correct Answer: D
Full Explanation: Dramatic Criticism and Analysis: Critical theories and frameworks for evaluating
dramatic texts and live performances. Lighting and Sound Design: Lighting instruments, control
consoles, instrument schedules, magic sheets, and cue plotting. A: The two roles are reversed: the
first assignment belongs with the second focus, and vice versa. B: Repeating the first assignment
leaves the second requirement without its own matching focus. C: Repeating the second
assignment does not address the first requirement.
Question 4
“Stage Management and Theater Operations” has been confused with the task
“International Thespian Society”. Which description should replace that task?
A. Roles and responsibilities of the stage manager across pre-production, rehearsal,
performance, and strike
B. Elizabethan, Jacobean, and English Renaissance theater, including Shakespearean
conventions and staging practices
C. Direction of educational theater productions, managing student crews, and integrating
co-curricular student organizations (e.g., International Thespian Society)
D. International Thespian Society
Correct Answer: A
Full Explanation: Stage Management and Theater Operations: Roles and responsibilities of the
stage manager across pre-production, rehearsal, performance, and strike. Direction of educational
theater productions, managing student crews, and integrating co-curricular student organizations:
International Thespian Society. B: This describes “Classical, Renaissance, and Early European
Theater”, rather than the requested focus. C: This describes “Pedagogy, Classroom Management,
and Production Instruction”, rather than the requested focus. D: This describes “Direction of
educational theater productions, managing student crews, and integrating co-curricular student
organizations”, rather than the requested focus.
3
, QUESTIONS
Question 5
Two activities have different purposes: “Character development, dialogue
creation, theme exploration, and subtext analysis” and “Integration of
interdisciplinary approaches, literacy, and 21st-century skills through drama”.
Which pairing identifies their respective areas?
A. First: Playwriting and Dramatic Structure; second: Curriculum Design and Instructional
Strategies
B. First: Curriculum Design and Instructional Strategies; second: Playwriting and Dramatic
Structure
C. First: Playwriting and Dramatic Structure; second: Playwriting and Dramatic Structure
D. First: Curriculum Design and Instructional Strategies; second: Curriculum Design and
Instructional Strategies
Correct Answer: A
Full Explanation: Playwriting and Dramatic Structure: Character development, dialogue creation,
theme exploration, and subtext analysis. Curriculum Design and Instructional Strategies:
Integration of interdisciplinary approaches, literacy, and 21st-century skills through drama. B: The
two roles are reversed: the first assignment belongs with the second focus, and vice versa. C:
Repeating the first assignment leaves the second requirement without its own matching focus. D:
Repeating the second assignment does not address the first requirement.
Question 6
Which note correctly distinguishes the focus of “Directing and Rehearsal
Processes”, “Playwriting and Dramatic Structure”, “Lighting and Sound
Design”, “Curriculum Design and Instructional Strategies”? Pay particular
attention to the role of “Acoustic principles, sound reinforcement, recording,
editing, and design of soundscapes and cue tracks”.
A. Lighting and Sound Design — Collaboration with actors, designers, and technical staff during
table reads, blocking rehearsals, and technical/dress rehearsals
B. Lighting and Sound Design — Assessment methods, rubrics, portfolios, and
performance-based evaluation criteria for theatrical skill acquisition
C. Lighting and Sound Design — Acoustic principles, sound reinforcement, recording, editing,
and design of soundscapes and cue tracks
D. Lighting and Sound Design — Adaptation of prose, poetry, and non-traditional sources into
theatrical scripts
Correct Answer: C
Full Explanation: Lighting and Sound Design: Acoustic principles, sound reinforcement,
recording, editing, and design of soundscapes and cue tracks. A: This option instead describes the
following different focus: Directing and Rehearsal Processes: Collaboration with actors, designers,
and technical staff during table reads, blocking rehearsals, and technical/dress rehearsals. B: This
option instead describes the following different focus: Curriculum Design and Instructional
Strategies: Assessment methods, rubrics, portfolios, and performance-based evaluation criteria for
theatrical skill acquisition. D: This option instead describes the following different focus:
Playwriting and Dramatic Structure: Adaptation of prose, poetry, and non-traditional sources into
theatrical scripts.
4
,QUESTIONS
Question 1
Which description accurately connects an activity with “Modern, Contemporary,
and Global Theater Traditions”?
A. 20th-century avant-garde movements (e.g., expressionism, theater of the absurd, epic
theater, surrealism)
B. Roles and responsibilities of the stage manager across pre-production, rehearsal,
performance, and strike
C. Character development, dialogue creation, theme exploration, and subtext analysis
D. Physical expression, movement, stage combat, blocking, and body awareness
Correct Answer: A
Full Explanation: Modern, Contemporary, and Global Theater Traditions: 20th-century
avant-garde movements (e.g., expressionism, theater of the absurd, epic theater, surrealism). B:
This describes “Stage Management and Theater Operations”, rather than the requested focus. C:
This describes “Playwriting and Dramatic Structure”, rather than the requested focus. D: This
describes “Acting and Performance Techniques”, rather than the requested focus.
Question 2
Two requirements must be assigned in order: (1) “Critical theories and
frameworks for evaluating dramatic texts and live performances”; (2)
“Historical research, fabric selection, garment construction, tailoring, and
alteration”. Which pair of focus areas fits them?
A. First: Dramatic Criticism and Analysis; second: Dramatic Criticism and Analysis
B. First: Costume, Makeup, and Wig Design; second: Costume, Makeup, and Wig Design
C. First: Dramatic Criticism and Analysis; second: Costume, Makeup, and Wig Design
D. First: Costume, Makeup, and Wig Design; second: Dramatic Criticism and Analysis
Correct Answer: C
Full Explanation: Dramatic Criticism and Analysis: Critical theories and frameworks for evaluating
dramatic texts and live performances. Costume, Makeup, and Wig Design: Historical research,
fabric selection, garment construction, tailoring, and alteration. A: Repeating the first assignment
leaves the second requirement without its own matching focus. B: Repeating the second
assignment does not address the first requirement. D: The two roles are reversed: the first
assignment belongs with the second focus, and vice versa.
2
,QUESTIONS
Question 3
One review addresses “Critical theories and frameworks for evaluating
dramatic texts and live performances”; another addresses “Lighting
instruments, control consoles, instrument schedules, magic sheets, and cue
plotting”. Which sequence of topics preserves that distinction?
A. First: Lighting and Sound Design; second: Dramatic Criticism and Analysis
B. First: Dramatic Criticism and Analysis; second: Dramatic Criticism and Analysis
C. First: Lighting and Sound Design; second: Lighting and Sound Design
D. First: Dramatic Criticism and Analysis; second: Lighting and Sound Design
Correct Answer: D
Full Explanation: Dramatic Criticism and Analysis: Critical theories and frameworks for evaluating
dramatic texts and live performances. Lighting and Sound Design: Lighting instruments, control
consoles, instrument schedules, magic sheets, and cue plotting. A: The two roles are reversed: the
first assignment belongs with the second focus, and vice versa. B: Repeating the first assignment
leaves the second requirement without its own matching focus. C: Repeating the second
assignment does not address the first requirement.
Question 4
“Stage Management and Theater Operations” has been confused with the task
“International Thespian Society”. Which description should replace that task?
A. Roles and responsibilities of the stage manager across pre-production, rehearsal,
performance, and strike
B. Elizabethan, Jacobean, and English Renaissance theater, including Shakespearean
conventions and staging practices
C. Direction of educational theater productions, managing student crews, and integrating
co-curricular student organizations (e.g., International Thespian Society)
D. International Thespian Society
Correct Answer: A
Full Explanation: Stage Management and Theater Operations: Roles and responsibilities of the
stage manager across pre-production, rehearsal, performance, and strike. Direction of educational
theater productions, managing student crews, and integrating co-curricular student organizations:
International Thespian Society. B: This describes “Classical, Renaissance, and Early European
Theater”, rather than the requested focus. C: This describes “Pedagogy, Classroom Management,
and Production Instruction”, rather than the requested focus. D: This describes “Direction of
educational theater productions, managing student crews, and integrating co-curricular student
organizations”, rather than the requested focus.
3
, QUESTIONS
Question 5
Two activities have different purposes: “Character development, dialogue
creation, theme exploration, and subtext analysis” and “Integration of
interdisciplinary approaches, literacy, and 21st-century skills through drama”.
Which pairing identifies their respective areas?
A. First: Playwriting and Dramatic Structure; second: Curriculum Design and Instructional
Strategies
B. First: Curriculum Design and Instructional Strategies; second: Playwriting and Dramatic
Structure
C. First: Playwriting and Dramatic Structure; second: Playwriting and Dramatic Structure
D. First: Curriculum Design and Instructional Strategies; second: Curriculum Design and
Instructional Strategies
Correct Answer: A
Full Explanation: Playwriting and Dramatic Structure: Character development, dialogue creation,
theme exploration, and subtext analysis. Curriculum Design and Instructional Strategies:
Integration of interdisciplinary approaches, literacy, and 21st-century skills through drama. B: The
two roles are reversed: the first assignment belongs with the second focus, and vice versa. C:
Repeating the first assignment leaves the second requirement without its own matching focus. D:
Repeating the second assignment does not address the first requirement.
Question 6
Which note correctly distinguishes the focus of “Directing and Rehearsal
Processes”, “Playwriting and Dramatic Structure”, “Lighting and Sound
Design”, “Curriculum Design and Instructional Strategies”? Pay particular
attention to the role of “Acoustic principles, sound reinforcement, recording,
editing, and design of soundscapes and cue tracks”.
A. Lighting and Sound Design — Collaboration with actors, designers, and technical staff during
table reads, blocking rehearsals, and technical/dress rehearsals
B. Lighting and Sound Design — Assessment methods, rubrics, portfolios, and
performance-based evaluation criteria for theatrical skill acquisition
C. Lighting and Sound Design — Acoustic principles, sound reinforcement, recording, editing,
and design of soundscapes and cue tracks
D. Lighting and Sound Design — Adaptation of prose, poetry, and non-traditional sources into
theatrical scripts
Correct Answer: C
Full Explanation: Lighting and Sound Design: Acoustic principles, sound reinforcement,
recording, editing, and design of soundscapes and cue tracks. A: This option instead describes the
following different focus: Directing and Rehearsal Processes: Collaboration with actors, designers,
and technical staff during table reads, blocking rehearsals, and technical/dress rehearsals. B: This
option instead describes the following different focus: Curriculum Design and Instructional
Strategies: Assessment methods, rubrics, portfolios, and performance-based evaluation criteria for
theatrical skill acquisition. D: This option instead describes the following different focus:
Playwriting and Dramatic Structure: Adaptation of prose, poetry, and non-traditional sources into
theatrical scripts.
4
