Theatre History - Native American Quiz

Answer: literalism (rather than symbolism)

Traditional Native American theatre has generally been a total sensory experience; it engages sight, taste, touch, hearing, smelling, and kinesthetics simultaneously. Audience participation was also common, whether through actually going onto the stage to perform or simply by being emotionally engaged. Native American theatre was also generally planned and produced by the entire community, so there was an understanding of the illusion of theatre. Native American theatre was not, however, literal. On the contrary, it contained extensive symbolism, whether in the ritualistic acts themselves, or in the use of masks and animal characters.

Answer: 9

Not all of the chantways lasted that long, but some took place over nine days and consisted of over 90 hours of performance. The ceremonies included singing, offerings, blessing rituals, and more.

Answer: capital "i"

The court was shaped like a capital "i", with a central straight area capped at both ends with perpendicular playing areas. The game was somewhat like modern day soccer, and used a rubber ball made from the rubber tree. The game was frequently played to the death, and the audience would sit in reverential silence as they watched the game unfold.

Answer: False

The sacrifice was male. A year before the sacrifice, the most physically perfect and attractive man was chosen from the prisoners to be the embodiment of Tezcatlipoca. He was treated like a god for a year, traveling between cities from festival to festival. On the day of sacrifice, he was mourned by priests.

The sacrifice itself consisted of cutting open his chest and removing the man's heart, which would then be offered to the sun.

Answer: Mayan

The dramatic text, which survived through performance even when the text was banned by Spanish authorities, interested itself in Mayan history and culminated in the beheading of a captive. Production of the play usually involved masks, dancing, and lengthy expressive speeches.

Answer: Christian

Sor Juana expertly melded the pagan traditions of her native Mexico with the Christian traditions espoused by its Spanish inhabitants.

Answer: Trickster

Caballeros were from Spanish Comedia. Rakes were from English Restoration theatre. The Bucco was from Roman theatre. The Trickster, common in stories and myths, was often a non-heroic protagonist. Frequently, the character would break boundaries in order to show why those very boundaries were necessary in real life.

Answer: vision quests

These were a communion between the human soul and nature, and were sometimes used as rites of manhood. They were dramatic in that the individual performed for himself a theatrical ritual.

Answer: forbidden love eventually prevails

"Apu Ollantay" was from the Inca culture. Fifteen scenes long, it included a chorus and incorporated supernatural elements and dance and music. It tells the story of a General who defies society by falling in love with a princess. When the princess' father dies, the lovers are allowed to unite.

Answer: group dances

Powwows incorporated music, dance and costume and were partially improvised.