A) Building the set.
B) Interpreting and realizing the play's script on stage.
C) Designing the costumes.
D) Selling tickets to the show.

A) Thorough script analysis.
B) Ordering catering for rehearsals.
C) Writing the play.
D) Choosing the theatre's paint color.

A) Preventing actors from seeing each other.
B) The color scheme of the set.
C) The actors' movements on stage.
D) Creating a physical barrier on stage.

A) A unifying idea that shapes the production's interpretation.
B) A summary of the play's plot.
C) A detailed list of props.
D) The director's personal diary about the play.

A) Consider them thoughtfully and respectfully.
B) Reject them immediately.
C) Implement them without question.
D) Publicly ridicule them.

A) Integrating technical elements (lights, sound, etc.) with the performance.
B) Rehearsing lines one last time.
C) Having a cast party.
D) Auditioning new actors.

A) The cost of the production.
B) The number of acts in the play.
C) The speed and rhythm of the play's action.
D) The size of the theatre.

A) The stage directions written in italics.
B) The play's title.
C) The unspoken meaning beneath the dialogue.
D) The actors' costumes.

A) Constructing the set.
B) Selling advertising space in the program.
C) Selecting the actors who best fit the roles.
D) Designing the playbill.

A) To delegate all responsibilities to others.
B) To avoid making any personal decisions.
C) To effectively work with designers, actors, and crew.
D) Because the director lacks any creative vision.

A) The amount of furniture on stage.
B) The director's personal style.
C) An actor's ability to command attention on stage.
D) The color of the stage floor.

A) A book of jokes to tell during rehearsals.
B) A collection of play reviews.
C) A book of inspirational quotes for the actors.
D) A complete record of the production, including blocking and notes.

A) To decide which costumes to throw away.
B) To practice folding the costumes neatly.
C) To run the show as if it were a performance with costumes and makeup.
D) To have a costume parade.

A) The actor's payment.
B) The actor's mode of transportation to the theatre.
C) The speed at which the actor delivers their lines.
D) The reason behind a character's actions.

A) A secret code used by the actors.
B) The imaginary barrier between the actors and the audience.
C) The wall at the back of the stage.
D) The number of acts in the play.

A) To make sure the audience knows what time it is.
B) To limit the number of scene changes.
C) To create a captivating and engaging theatrical experience.
D) To ensure all actors speak at the same volume.

A) To fire actors who made mistakes.
B) To rewrite the play based on audience reactions.
C) To provide occasional notes, but primarily step back.
D) To personally greet every audience member after the show.

A) The director's financial dealings.
B) Small actions performed by actors on stage.
C) The selling of tickets at the box office.
D) The cleaning of the stage after a performance.

A) When the lights malfunction during a performance.
B) When the audience knows something the characters do not.
C) When the costumes are too small.
D) When the actors forget their lines.

A) The type of music played during intermission.
B) The temperature of the theatre.
C) The overall speed or pace of a scene or the entire play.
D) The type of lighting used on stage.

A) Only give positive feedback, even if it's not warranted.
B) Publicly and harshly.
C) Constructively and specifically.
D) Avoid giving feedback altogether.

A) A type of French dessert.
B) The French term for 'thank you'.
C) The director's autobiography.
D) The arrangement of scenery and stage properties in a play.

A) A list of phone numbers of potential investors.
B) A bulletin board for posting announcements to the cast and crew.
C) A stage prop resembling a telephone.
D) A type of bird that lives in the theatre.

A) Stealing props from the set.
B) Angling one's body slightly toward the audience.
C) Looking at the audience directly.
D) Trying to get away with not rehearsing.

A) To make sure all characters are completely unlikeable.
B) To create believable and compelling characters.
C) To use character development only to bore the audience.
D) To make the actors look as attractive as possible.

A) To indicate that the actors have forgotten their lines.
B) To emphasize emotions or create tension.
C) To allow the audience to fall asleep.
D) To signal the end of the play.

A) A line of dialogue that is often forgotten.
B) A type of pool stick.
C) A musical instrument.
D) A signal for an actor or technician to perform an action.

A) The playwright's preferred method of writing.
B) The script cover's color.
C) The physical spine of the director.
D) The central action or driving force of the play.

A) A curtain call.
B) A perfect take.
C) A flub.
D) An encore.

A) The area of the theatre where the audience sits.
B) The stage itself.
C) The theatre's administrative office.
D) The place where the actors live during the production.