AEPA Theater Practice Questions
1. Listening, reacting, engaging in eye contact, and thoroughly understanding prompts are all important elements when nurturing a student’s ability to develop what broad skill?
A: Effective interaction
D: Role playing
2. To encourage successful collaboration among members of an ensemble, a drama teacher must do all of the following except:
A: Define performance goals
B: Involve all willing participants
C: Invite new ideas from the group
D: Force the group to make creative decisions without offering help
3. There are two actors’ onstage discussing politics. Tim reflexively rolls his eyes after Barry makes a comment. Barry responds to Tim’s eye roll by saying, “Okay, clearly we need to change the subject.” Barry’s response was due to:
A: Vocal cues
C: Script directions
D: Natural impulse
4. Which of the following would be the most effective way for a director to create a sense of creative collaboration amongst his ensemble before the rehearsal process begins?
A: He should take his cast members to a play so they can observe other actors before determining what type of actors they want to be
B: He should have a party so all cast members can get to know each other on a friendly basis
C: He should hold a table read-through of the script that involves every member of the ensemble, even those who have small parts
D: He should get cast members to do a simple warm-up that involves improvisation and theatre games
5. Which of the following is the most important aspect of writing or choosing a script for a third-grade classroom?
A: There needs to be a lesson learned at the end of the story
B: The script must be appropriate for both the performer(s) and the audience
C: The script must not call for expensive props
D: The dialogue must not contain offensive language
6. Fill in the blank: When critiquing students’ monologues, it is important to help them through the refining process by _____:
A: The dialogue must not contain offensive language
B: Rewriting and fine tuning verbiage so that all audience members can relate to the material
C: Encouraging them to stay in character for a full 24 hours to grasp the mood of the monologue
D: Making sure the student can identify with the character and is comfortable with the dialect and content
Use the information below to answer Question 7:
A young girl walks along the beach with her dog as the waves tickle her feet. A boy approaches the girl and asks her if she would like to build a sandcastle with him.
7. You ask each student in your fifth-grade drama class to close their eyes while you read the above passage. Then, with their eyes opened, you ask each student to tell his or her own version of what happens next with the girl, the dog, and the boy on the beach. This is an example of using which source material?
D: Personal experiences
8. Fill in the blank: When reading or writing a script, character actions that occur while the character is speaking should appear in _____:
A: Upper case
B: Bold font
9. An important script element that appears in all capital letters and tells the reader about the current scene setting is known as what?
A: Slug line
C: Scene description
10. With respect to actor placement onstage, the term “upstage” means what?
A: The actor is toward the back of the stage, away from the audience
B: The actor is positioned at the front of the stage, close to the audience
C: The actor is exactly at the center of the stage
D: The actor is standing on an X on the stage that was put in place by the director
1. A. Learning how to effectively interact with others is extremely important to a child’s understanding of theatre. In order to fully grasp effective interaction, one must develop certain skills, such as listening, reacting, engaging in meaningful eye contact, and taking note of prompts from other performers. Performance, rehearsal, and role playing are great methods for honing interaction skills, but a student must understand the basic fundamentals of effective interaction before they can perform these activities.
2. D. In this question, look for the answer that does not belong. Answer choices A through C suggest that the teacher is providing encouragement, while answer choice D does not. A drama teacher should never be reluctant to assist an ensemble with group decisions. An instructor should always be helpful and offer suggestions when asked. Collaboration can be difficult in a theatre setting since there are multiple people supplying input. It is a teacher’s duty to involve everyone, encourage new ideas, and define goals as a group.
3. B. According to the description of the situation, Tim reflexively rolled his eyes at Barry, meaning he did what came naturally in the moment. This gave the audience insight into his feelings without Tim having to come out and say it. There is no indication that he followed script directions or was prompted by a vocal cue, so neither answer choice A nor C is correct. Natural impulse is not always implied; it can be quite obvious. Therefore, answer D is not the best choice.
4. C. All of the answer choices in this question would effectively create a sense of creative collaboration among cast members. However, there is one answer choice that is better than the others. The most important thing to keep in mind when encouraging collaboration is to include everyone. That means the cast members with small roles should feel just as important as those with the lead roles. This will create positive cohesion throughout the entire rehearsal process. Answer C is the best choice since it involves all cast members and focuses on the play that will be performed.
5. B. Plenty of third-grade-level scripts do contain lessons at the end of the story. Typically, though, only fables are supposed to include a moral lesson. Therefore, answer choice A is incorrect. If a script called for expensive props or contained offensive language, it would not be suitable to be performed by third-graders or to be viewed by an audience. Therefore, while both answer choices C and D are correct, B is the better choice because it is broader and encompasses both C and D.
6. D. Performing a monologue can be unnerving for even the most experienced actor. When introducing young students to monologues, the most important thing to keep in mind is that they should feel comfortable with the content and dialect, and should be able to relate to the character in some way. Answer choices A through C are all good options when refining monologues, but establishing a comfort level between script and student is the most important aspect, making D the best choice.
7. C. The operative phrase in the question is what happens next. If the question called for a description, which would require students to use visualization skills, answer choice B would be the correct choice. The students most likely will use their memories and personal experiences as references in creating their stories, but because the teacher is asking what’s next, the students have to use their imaginations more than anything else.
8. C. When formatting scripts, character names and headings appear in upper case letters. Therefore, choice A is incorrect. As a general rule, underlining is preferred over both bold and italic fonts, making answer choices B and D incorrect. Action while a character is speaking should be identified with parentheses. If a character is not speaking, action is simply listed without special formatting.
9. A. It is important to first recognize that “slug line” is another term for “scene heading.” The term should not be confused with the term “header.” The question is asking about a script element that appears in all capital letters and describes the current setting. The only two script elements that are written in all capital letters are character names and slug lines. Since the question does not reference character names, answer choice A is correct.
10. A. Here is an easy way to remember stage directions: There is an old wives’ tale about stage construction that claims that stages used to be built on a slope (the back end was higher than the front). When a director wanted an actor to stand at the back of the stage, he literally meant, “Go up the stage.” If the director wanted an actor positioned toward the front of the stage, he would say, “Go down the stage.” Eventually, these directions were shortened to “upstage” and “downstage.”