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Drama & Theatre Studies Exam Papers, NUI Galway 2007/2008: En385 - Modern Drama & Theory, Exams of Literature

Dr. B.R. Ambedkar Open UniversityLiterature

The examination papers for the drama and theatre studies course, en385, at the national university of ireland, galway, during the academic year 2007/2008. The papers consist of questions related to modern drama and theory, and students were required to answer any two of the provided questions. The questions cover various topics, including the optimism of modernism, performance of masculinity, the indispensability of stage action, the influence of stanislavski and brecht on beckett, and the use of theatrical illusion for political purposes, among others.

Typology: Exams

2011/2012

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OLLSCOIL NA hÉIREANN, GAILLIMH
NATIONAL UNIVERSITY OF IRELAND, GALWAY
SEMESTER I EXAMINATIONS, 2007/2008
THIRD ARTS EXAMINATION
EN385: DRAMA AND THEATRE STUDIES
Professor A. Minnis
Professor G. Watson
Professor H. McDermott
Dr L. Pilkington
Dr P. Lonergan
TIME ALLOWED: THREE HOURS
AVOID DUPLICATION OF MATERIAL (I.E. DO NOT REFER TO THE SAME
PLAYS AND/OR THEORIES WHEN ANSWERING DIFFERENT QUESTIONS)
ANSWER ANY TWO OF THE FOLLOWING QUESTIONS
PLEASE USE A SEPARATE ANSWER BOOK FOR EACH QUESTION
1. ‘Modernism is optimistic because it points to the inevitability of change.’ Discuss
this statement in relation to any two course texts.
2. Discuss the performance of masculinity in any two course texts.
3. Write an essay that shows the indispensability of stage action for a critical
understanding of any two plays on the course.
4. Discuss the various ways in which the writings of Stanislavski and/or Brecht
illuminate Beckett’s Waiting for Godot.
5. How and why has Brechtian theory been used by dramatists of the twentieth
century? Refer in your answer to Brecht and ONE of the following writers: Tony
Kushner, Caryl Churchill, or Sarah Kane.
Contd./…
pf2

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Download Drama & Theatre Studies Exam Papers, NUI Galway 2007/2008: En385 - Modern Drama & Theory and more Exams Literature in PDF only on Docsity!

OLLSCOIL NA hÉIREANN, GAILLIMH

NATIONAL UNIVERSITY OF IRELAND, GALWAY

SEMESTER I EXAMINATIONS, 2007/

THIRD ARTS EXAMINATION

EN385: DRAMA AND THEATRE STUDIES

Professor A. Minnis

Professor G. Watson

Professor H. McDermott

Dr L. Pilkington

Dr P. Lonergan

TIME ALLOWED: THREE HOURS

AVOID DUPLICATION OF MATERIAL (I.E. DO NOT REFER TO THE SAME

PLAYS AND/OR THEORIES WHEN ANSWERING DIFFERENT QUESTIONS)

ANSWER ANY TWO OF THE FOLLOWING QUESTIONS

PLEASE USE A SEPARATE ANSWER BOOK FOR EACH QUESTION

  1. ‘Modernism is optimistic because it points to the inevitability of change.’ Discuss this statement in relation to any two course texts.
  2. Discuss the performance of masculinity in any two course texts.
  3. Write an essay that shows the indispensability of stage action for a critical understanding of any two plays on the course.
  4. Discuss the various ways in which the writings of Stanislavski and/or Brecht illuminate Beckett’s Waiting for Godot.
  5. How and why has Brechtian theory been used by dramatists of the twentieth century? Refer in your answer to Brecht and ONE of the following writers: Tony Kushner, Caryl Churchill, or Sarah Kane.

Contd./…

…./Contd.

  1. “The moments of magic … are to be fully realised, as bits of wonderful Theatrical illusion – which means it is OK if the wires show, and maybe it is good that they do, but the magic should at the same time be thoroughly amazing” (Tony Kushner). Consider how any two writers on the course use theatrical illusion for political purposes.
  2. “Dramatists’ descriptions of human relationships – between husband and wife, parent and child, master and slave, and so on – allow us to understand how power functions within society”. Respond critically to this statement, referring in detail to any two writers on the course.
  3. “The past is the present, isn’t it? It’s the future too” (Eugene O’Neill, Long Day’s Journey Into Night ). Consider how and why any two writers on this course blur the distinction between past and present in their presentation of time.
  4. Consider the audience’s role in constructing the meaning of any two of the following plays: Pinter’s The Homecoming , Kane’s Blasted , OR Churchill’s Cloud Nine.

END