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Past exam papers 2010

TH1110

THE UNIVERSITY OF WARWICK

Summer examinations 2009/10

INTRODUCTION TO THEATRE

 

Time allowed: 2 hours

Choose TWO of the following sections, and answer ONE question from each, with reference to specific examples. Do not repeat substantially material in different answers, or draw significantly in your answers on material already covered in assessed essays.

Read carefully the instructions on the answer book and make sure that the particulars required are entered on each answer book.

 

EACH ANSWER SHOULD COMMENCE IN A SEPARATE ANSWER BOOK.

Sections A: The European Legacy

1. The origins of European theatre in Greece and Rome; Medieval and Renaissance theatre; the material conditions surrounding Elizabethan performance; Commedia Dell’Arte; Neo-classicism; the Restoration stage.

Section B: Innovations in Modern European Theatre

2. Modernism: independent art, independent theatres & the development of cabaret in the Parisian avant-garde; Symbolism in performance: Wagner, Baudelaire; Surrealism: innovations in art and performance and a new critical method; Brecht & Stanlislavski; Artaud & Grotowski

Section C: World Theatre

3. Aspects of Asian and African Theatre - oral performance and Ritual Theatre; Total theatre; Symbolism and Japanese Noh; Ritual and Balinese theatre; Intercultural theatre - Wole Soyinka’s Death and a King’s Horseman)

(End)

 

 

 

 
TH1110

THE UNIVERSITY OF WARWICK

Summer examinations 2009/10

INTRODUCTION TO THEATRE

 

Time allowed: 2 hours

Choose TWO of the following sections, and answer ONE question from each, with reference to specific examples. Do not repeat substantially material in different answers, or draw significantly in your answers on material already covered in assessed essays.

Read carefully the instructions on the answer book and make sure that the particulars required are entered on each answer book.

 

EACH ANSWER SHOULD COMMENCE IN A SEPARATE ANSWER BOOK.

 

Section A. ‘European Legacy’

1. Critically analyse the material conditions of Shakespeare’s acting companies in England. Compare and contrast this analysis with contemporary film depictions of Renaissance acting companies and productions.

 

 

2. Critically compare two or three periods of European theatre history to 1800 in terms of the implications of gender in performance.

3. With reference to at least two periods of European theatre history to 1800, discuss the changing relationship between performer, space, material and audience.

Section B. Innovations in Modern European Theatre

4. With reference to at least two theatre groups or practitioners discuss the significance of artistic AND/OR theatrical AND/OR technological developments in Paris in the late nineteenth and early twentieth centuries to experimental and innovative performance.

 

5. What characterises Mother Courage and her Children as an example of Epic theatre.

Section C. World Theatre

6. Referring to two specific examples of performance forms covered in ‘World Theatre’, discuss the way in which the role of the audience affects the staging of the performance in relation to space and how symbolism is used.

7. Compare the use of ritual in Noh theatre to the place of ritual in Soyinka’s Death and the King’s Horseman.

(End)