Samantha Jroski THR388
Exam 2
Read each question carefully before ans wering. You will have the entire class period to complete this exam. Focus on what is being asked of you for each question, demonstrating your overall knowledge and understanding of the material and your ability to make relevant
connections among the material. This test is worth 100 points, with an additional 15 extra credit points available.
Remembe r: Hit the key points and ans wer what is being asked of you.
I. Roundtable 1. Regional Theatres
In our discussion of the League of Regional Theatres we discussed over twenty very different but also very potent theatres. I have provided on the next page the list of theatres broken up into the five categories in which they were discussed. Choose one theatre from each of the five categories – you must choose the theatre you researched. Compare and contrast the theatres briefly in terms of their ignition points, mission statements, and overall resonance. Then, discuss each theatre in relation to its group heading. Use the space provided and the back of this page if necessary for your response. Reme mbe r: not all of the theatres listed were discussed! (20 points)
The League of Regional Theatres
Group One: Focus your attention on their theatre training/education programs - Yale Repertory Theatre (at Yale University, New Haven)
- American Repertory Theatre (at Harvard University, Boston) - The Goodman Theatre (Chicago)
- /The Atlantic Theatre Company (New York) - American Conservatory Theatre (San Francisco)
Group Two: Focus attention onto their efforts to produce ne w works - Actors Theatre of Louisville (Kentucky)
- Playwright‟s Horizons (New York) - Long Wharf Theatre (New Haven) - The Public Theatre (New York)
- Theatre for a New Audience (New York)
Group Three: Focus attention onto theatre excellence for the Philadelphia Region - The Wilma Theatre
- The Arden Theatre
- The Philadelphia Theatre Company - The Pig Iron Theatre Company - McCarter Theatre (Princeton)
Group Four: Focus study on their superb artistic leade rship/vision - Lincoln Center Theatre (NY)
- South Coast Rep (Orange County, CA) - Steppenwolf Theatre (Chicago)
- The Intiman Theatre (Seattle) - Signature Theatre (Arlington, VA)
Group Five: Focus study on their mission to celebrate classic/world theatre - Centerstage (Baltimore)
- The Guthrie Theatre (Minneapolis) - The Arena Theatre (Washington DC) - The Shakespeare Theatre (Washington DC)
II. Connections
1. Sam Shepard has been called the American Mythic Realist. By looking specifically at his play Buried Child, how do you see both myth and Savran‟s The Haunted Stage
portrayed? Do these two themes act independently of each other or must they work in unison to make the piece truly effective? (4 points)
2. Sondheim and Weidman‟s Assassins is the only musical we have discussed this semester.
Is this musical delivery system effective given the subject matter and structure of the piece? Why or why not. Would this piece have the same effect on an audience if the musical convention was eliminated? Defend your answer in a well-thought out and clear response. (5 points)
3. David Mamet‟s American Buffalo relies heavily on the text and dialogue to drive the story along. How do you, as an audience member, absorb such fast-paced production?
Does the language, being the language used by men, make it easier to understand the story or does the play‟s conversational nature make it rather difficult to dive in? (5 points)
4. August Wilson‟s Fences and Parks‟ Topdog/Underdog utilize regional dialects as part of their structure and character development. Compare and contrast the playwright‟s use of these dialects. Do you find that one playwright is more successful than the other in terms of this delivery system and character development? Why or why not. Remember that we read interviews with both of these playwrights. What did each of these playwrights have to say about the nature of language? (10 points)
5. In Parks‟ Topdog/Underdog we witness the life of two brothers, Lincoln and Booth. Is it absolutely essential that Lincoln dies in this piece? Explain. In what ways do you see Savran‟s Haunted Stage echoing throughout this work? (5 points)
6. In our class discussion of Angels in America we created a rather lengthy list of themes.
Reflect back on the class discussion and list five of the themes we discussed. Then, discuss these themes in a well-developed short essay. Use examples and scenes from the play to elaborate upon and discuss the themes you choose. What makes these themes resonate for you? (10 points)
7. Compare and contrast the Millennium Approaches and Perestroika in terms of their tone, hero journey, and the different elements of the fantastic. (12 points)
Millennium Approaches Perestroika Tone
Hero Journey
The Fantastic
8. Out of the several plays we have read the second half of this semester, pick one and create and fill out the chart with the required information. If you need more space, you may go onto the back of the paper. Please list the play and the playwright! Remember to list ALL of the characters in the play. This means the ones who speak but also the ones who are often mentioned and referred to. You may not be able to fill out the chart completely for the characters who are only mentioned, but you should have a decent understanding of them through what the other characters had to say. Why did you choose this play? (20 points)
Characters Conflicts Themes Symbols Resonance Delivery
System
III. Terms
For this section, select 3 of the terms, characters, or concepts listed below to define. Craft a well- thought out response. Include any information that is necessary, such as the playwright if
discussing a character in work or a theme, examples and definitions, your own observations, conflicts/themes/symbols, and make any connections with other concepts, plays, or themes if possible. (9 points)
The buried child
The Golden Bough
Booth (from Assassins)
Harper
Greek Tragedy
Naturalism vs. Realism
Episodic
Extra Credit:
What is the Pittsburgh Cycle? What playwright is most associated with this term and why? (5 points)
In Mamet‟s Thee Uses of the Knife, he states that “I don‟t believe reaching people is the purpose of art. In fact, I don‟t know what „reaching people‟ means.” Do you support Mamet‟s view? Why or why not. Defend your answer with specific examples from the plays we have read. What does
„reaching people‟ mean to you? Is it in the delivery system, the themes, the text, etc? (10 points)
