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Question 1 of 6
1. Question
Cities across the world are essentially blends of smaller cultural environments that lead people to have vastly different experiences. Each city typically contains a broad spectrum of dining establishments along with various art institutions like museums and theatres. Yet with all these blends of dining, art and night lives, what is the one characteristic that can distinguish a city? History. The undeniably unique history of each city provides rich traditions and a bond between the local people that overshadows any other city’s mélange of dining and art institutions.
In context, which word most closely defines mélange?
CorrectIncorrect -
Question 2 of 6
2. Question
Cities across the world are essentially blends of smaller cultural environments that lead people to have vastly different experiences. Each city typically contains a broad spectrum of dining establishments along with various art institutions like museums and theatres. Yet with all these blends of dining, art and night lives, what is the one characteristic that can distinguish a city? History. The undeniably unique history of each city provides rich traditions and a bond between the local people that overshadows any other city’s mélange of dining and art institutions.
Which of the following would the author believe is the most important city attraction or characteristic?
CorrectIncorrect -
Question 3 of 6
3. Question
Passage 1
Because it is filled with contradictions, performance is
also filled with risk. This is the domain of stage fright. The
actor is aware that appearing in front of an audience is a
Line
scary proposition. Maintaining the reality of the character is,
5
in itself, a fragile affair; it demands of the actor a series of
complex transformations. The actor has the unique problem
of hiding and showing at the same time. The actor’s conscious
fear is not about making a mistake, but about allowing the
audience to see something that it is not supposed to see:
10
namely, the performer’s fear, or stage fright.
Passage 2
The term “stage fright” has largely dropped out of use,
because we know now that dwelling on something this
malevolent gives it power. If I tell you not to be afraid,
you may dwell on your fear. If I say, do not think of
15
fast-food burgers under any circumstances, a line of
them will parade through your mind. The key to most
fears is substitution. On the simplest level, you replace
the ogre with something less menacing to fill your
consciousness. If you will imagine yourself to be a
20
host rather than an actor, and think more about the
comfort of your listeners than their verdicts, everything
will fall into place.
What is the best way to describe the purposes of the two passages?
CorrectIncorrect -
Question 4 of 6
4. Question
Passage 1
Because it is filled with contradictions, performance is
also filled with risk. This is the domain of stage fright. The
actor is aware that appearing in front of an audience is a
Line
scary proposition. Maintaining the reality of the character is,
5
in itself, a fragile affair; it demands of the actor a series of
complex transformations. The actor has the unique problem
of hiding and showing at the same time. The actor’s conscious
fear is not about making a mistake, but about allowing the
audience to see something that it is not supposed to see:
10
namely, the performer’s fear, or stage fright.
Passage 2
The term “stage fright” has largely dropped out of use,
because we know now that dwelling on something this
malevolent gives it power. If I tell you not to be afraid,
you may dwell on your fear. If I say, do not think of
15
fast-food burgers under any circumstances, a line of
them will parade through your mind. The key to most
fears is substitution. On the simplest level, you replace
the ogre with something less menacing to fill your
consciousness. If you will imagine yourself to be a
20
host rather than an actor, and think more about the
comfort of your listeners than their verdicts, everything
will fall into place.
In the context of Passage 1, the phrase “Maintaining the reality of the character” (line 4) most directly refers to
CorrectIncorrect -
Question 5 of 6
5. Question
Passage 1
Because it is filled with contradictions, performance is
also filled with risk. This is the domain of stage fright. The
actor is aware that appearing in front of an audience is a
Line
scary proposition. Maintaining the reality of the character is,
5
in itself, a fragile affair; it demands of the actor a series of
complex transformations. The actor has the unique problem
of hiding and showing at the same time. The actor’s conscious
fear is not about making a mistake, but about allowing the
audience to see something that it is not supposed to see:
10
namely, the performer’s fear, or stage fright.
Passage 2
The term “stage fright” has largely dropped out of use,
because we know now that dwelling on something this
malevolent gives it power. If I tell you not to be afraid,
you may dwell on your fear. If I say, do not think of
15
fast-food burgers under any circumstances, a line of
them will parade through your mind. The key to most
fears is substitution. On the simplest level, you replace
the ogre with something less menacing to fill your
consciousness. If you will imagine yourself to be a
20
host rather than an actor, and think more about the
comfort of your listeners than their verdicts, everything
will fall into place.
How do the passages view stage fright in relation to human behavior in general?
CorrectIncorrect -
Question 6 of 6
6. Question
Passage 1
Because it is filled with contradictions, performance is
also filled with risk. This is the domain of stage fright. The
actor is aware that appearing in front of an audience is a
Line
scary proposition. Maintaining the reality of the character is,
5
in itself, a fragile affair; it demands of the actor a series of
complex transformations. The actor has the unique problem
of hiding and showing at the same time. The actor’s conscious
fear is not about making a mistake, but about allowing the
audience to see something that it is not supposed to see:
10
namely, the performer’s fear, or stage fright.
Passage 2
The term “stage fright” has largely dropped out of use,
because we know now that dwelling on something this
malevolent gives it power. If I tell you not to be afraid,
you may dwell on your fear. If I say, do not think of
15
fast-food burgers under any circumstances, a line of
them will parade through your mind. The key to most
fears is substitution. On the simplest level, you replace
the ogre with something less menacing to fill your
consciousness. If you will imagine yourself to be a
20
host rather than an actor, and think more about the
comfort of your listeners than their verdicts, everything
will fall into place.
Which of the following describes an actor coping with stage fright by following the advice of the author of Passage 2?
CorrectIncorrect