It is currently 12 Dec 2018, 15:16
My Tests


GMAT Club Daily Prep

Thank you for using the timer - this advanced tool can estimate your performance and suggest more practice questions. We have subscribed you to Daily Prep Questions via email.

for You

we will pick new questions that match your level based on your Timer History

Your Progress

every week, we’ll send you an estimated GMAT score based on your performance


we will pick new questions that match your level based on your Timer History

Not interested in getting valuable practice questions and articles delivered to your email? No problem, unsubscribe here.

QOTD # 27 In traditional theater forms, the roles of perform

  Question banks Downloads My Bookmarks Reviews Important topics  
Author Message
User avatar
Joined: 18 Apr 2015
Posts: 5152
Followers: 77

Kudos [?]: 1031 [0], given: 4643

CAT Tests
QOTD # 27 In traditional theater forms, the roles of perform [#permalink] New post 13 Aug 2016, 07:03
Expert's post

Question Stats:

0% (00:00) correct 100% (08:52) wrong based on 1 sessions
In traditional theater forms, the roles of performer and audience are completely separate, so that performance space can be said to encompass an actors’ sphere and a spectators’ sphere. Even when performers move out into the audience or when there is scripted audience interaction, spectators do not become performers. Finally, while stories may open up the imagination or excite audiences, according to Augusto Boal, they discourage political action by providing catharsis. The passive spectator follows the play’s emotional arc and, once the action concludes, finds the issue closed. Boal reminds us that our theater etiquette creates a kind of culture of apathy where individuals do not act communally, despite shared space, and remain distanced from art.
Workshop theater, such as Boal’s Image Theatre and Forum Theatre, is a response to that. In the workshop form, performance space is created for a select group of people, but the performers’ sphere and the audience’s sphere are collapsed: everyone is at once theater maker and witness. In Image Theatre, participants will come up with a theme or issue and arrange themselves into a tableau that depicts what that issue looks like in society today, versus what the ideal situation would be. They then try to transition from the current image to the ideal image in a way that seems plausible to all the participants. Forum Theatre, on the other hand, creates a narrative skit depicting a certain problem. After the actors have gone through the action of the play once, a facilitator, known as the joker (like the one in a pack of cards), encourages those who have watched the story to watch it again and tostop it at any time to take the place of the protagonist. The aim is to find a solution to the problem, realizing along the way all of the obstacles involved. In Forum Theatre, just as in Image Theatre, there is not always a solution. The main goal of this form, then, is to engage in the action, to reflect, and to understand particular issues as being part of a larger picture, thus using art to re-cast what seem like private troubles in a public, political light.
The main reason Boal developed these workshop styles was to grant audiences agency so that they may create ways to free themselves of oppression. Because he found theater audiences to be locked into a passive role—just like he found the oppressed coerced into a subservient role in relation to their oppressors—he created the “spect-actor,” or someone who simultaneously witnesses and creates theater.
The second paragraph of the passage serves to

(A) elaborate on the topic of the first paragraph
(B) provide a rationale for an artistic endeavor
(C) discuss an artistic answer to a passive culture
(D) explain the theater’s lack of appeal
(E) evaluate two contrasting styles of theater

[Reveal] Spoiler: OA

The author uses the word agency to mean

(A) profit
(B) organization
(C) publicity
(D) power
(E) hegemony

[Reveal] Spoiler: OA

Which of the following would Boal consider a “spect-actor”?

(A) a person who engages in political action
(B) an audience member who finds catharsis in a play
(C) any person placed in a subservient role
(D) any actor
(E) a participant in an Image workshop

[Reveal] Spoiler: OA

According to Boal, all of the following are disadvantage of traditional theater forms EXCEPT:

(A) Such productions prevent the actors from going into the audience.
(B) Such productions provide catharsis.
(C) Such productions discourage communal activity.
(D) Such productions obstruct political change.
(E) Such productions distance the audience from the art.

[Reveal] Spoiler: OA

All of the following would be characteristic of a Forum workshop EXCEPT:

(A) Productions begin with a narrative script.
(B) Different people often play the protagonist.
(C) Some performances do not achieve catharsis.
(D) Participants arrange themselves into a tableau.
(E) Performances are guided by a mediator.

[Reveal] Spoiler: OA


Get the 2 FREE GREPrepclub Tests

QOTD # 27 In traditional theater forms, the roles of perform   [#permalink] 13 Aug 2016, 07:03
Display posts from previous: Sort by

QOTD # 27 In traditional theater forms, the roles of perform

  Question banks Downloads My Bookmarks Reviews Important topics  


GRE Prep Club Forum Home| About| Terms and Conditions and Privacy Policy| GRE Prep Club Rules| Contact

Powered by phpBB © phpBB Group

Kindly note that the GRE® test is a registered trademark of the Educational Testing Service®, and this site has neither been reviewed nor endorsed by ETS®.