genuinely mac n cheese done bro

Question 1 (Week 2 - History, Historians, and the Socratic Method): The cooperative argumentative dialogue technique that uses disciplined questioning to draw out underlying presuppositions and stimulate critical thinking is the:

Socratic method

Question 2 (Week 3 - Theater, Drama, Ritual, and Performance): According to Richard Schechner's performance chart, a defining characteristic of ritual performances is that spectator criticism is:

Discouraged

Question 3 (Week 3 - Theater, Drama, Ritual, and Performance): In performance theory, a ceremony is defined as a/an __________ meant to sanction a political, social, or religious concept.

Collective representation

Question 4 (Week 4 - Ancient Greece: Tragedy, Aristotle, and Dialogic Theater): According to Aristotle's Poetics, which of the following is NOT true of the tragic hero?

The hero needed clearly individualized and unique characteristics

Question 5 (Week 2 - History, Historians, and the Socratic Method): A Source Book in Theatrical History focuses exclusively on which theatrical tradition?

Western theater

Question 6 (Week 2 - History, Historians, and the Socratic Method): True or False: A Source Book in Theatrical History is regarded as one of Homer's most important books.

False

Question 7 (Week 4 - Ancient Greece: Tragedy, Aristotle, and Dialogic Theater): True or False: Playwright August Wilson rejected Greek tragedy on the basis that, as a European theater form, it was irreconcilable with his African American artistic vision.

False

Question 8 (Week 6 - Ancient Rome: Blood, Guts, and Popular Entertainment): Which ancient performance form is associated with ancient Greece rather than ancient Rome?

The dithyramb

Question 9 (Week 3 - Theater, Drama, Ritual, and Performance): According to The Longman Anthology of Drama and Theater, The Lion King is an example of a theater piece that both entertains and:

Has an instructive value

Question 10 (Week 3 - Theater, Drama, Ritual, and Performance): True or False: One of the distinguishing characteristics of a ritual is that the audience rarely participates, but rather sits back and appreciates.

False

Question 11 (Week 3 - Theater, Drama, Ritual, and Performance): In Richard Schechner's performance continuum, ritual is primarily oriented toward efficacy, whereas theater is primarily oriented toward:

Entertainment

Question 12 (Week 3 - Theater, Drama, Ritual, and Performance): Anthropologist Victor Turner used what term to define the transitional, in-between threshold phase experienced during a ritual?

Liminality (liminal phase)

Question 13 (Week 3 - Theater, Drama, Ritual, and Performance): Victor Turner's term for the intense communal spirit, feeling of equality, and solidarity shared among ritual participants is:

Communitas

Question 14 (Week 4 - Ancient Greece: Tragedy, Aristotle, and Dialogic Theater): In dramatic theory, the critical turning point or discovery where the hero realizes the truth of their situation is the:

Recognition scene (anagnorisis)

Question 15 (Week 4 - Ancient Greece: Tragedy, Aristotle, and Dialogic Theater): In Aristotle's Poetics, the tragic protagonist's error in judgment or misstep is known as:

Hamartia

Question 16 (Week 4 - Ancient Greece: Tragedy, Aristotle, and Dialogic Theater): In Aristotle's theory of tragedy, the emotional purgation or release of pity and fear experienced by the audience is:

Catharsis

Question 17 (Week 4 - Ancient Greece: Tragedy, Aristotle, and Dialogic Theater): The three canonical Athenian tragic dramatists whose works have survived are Aeschylus, Euripides, and:

Sophocles

Question 18 (Week 4 - Ancient Greece: Tragedy, Aristotle, and Dialogic Theater): In the ancient Greek amphitheater, the circular space at the center where the chorus sang and danced was the:

Orchestra

Question 19 (Week 4 - Ancient Greece: Tragedy, Aristotle, and Dialogic Theater): The major civic and religious festival in classical Athens where tragic dramatic competitions were held was the:

City Dionysia

Question 20 (Week 4 - Ancient Greece: Tragedy, Aristotle, and Dialogic Theater): Simon Goldhill believes that the main practical function of the chorus in Greek tragedy was to:

Provide a connecting "hinge" between what had happened in the previous episode and what was going to happen in the next episode

Question 21 (Week 2 - History, Historians, and the Socratic Method): In historical scholarship, contemporary eyewitness accounts and physical artifacts produced during the era under study are classified as:

Primary sources

Question 22 (Week 2 - History, Historians, and the Socratic Method): True or False: One of the arguments historians have made to support the assertion that theater spaces in the "Golden Age" of Athens did not employ elevated stages is that the Greek language had no word for stage at that time.

True

Question 23 (Week 3 - Theater, Drama, Ritual, and Performance): Sociologist Erving Goffman analyzed everyday social interaction as a theatrical production in his approach known as:

Dramaturgical analysis

Question 24 (Week 3 - Theater, Drama, Ritual, and Performance): According to The Longman Anthology of Drama and Theater, which of the following is NOT a part of the definition of ritual?

Primarily used to regulate economic activity and financial relationships

Question 25 (Week 5 - Ancient Greece: Comedy Old and New): Hannah Gadsby says she refuses to do __________ comedy anymore.

Self-deprecating

Question 26 (Week 2 - History, Historians, and the Socratic Method): True or False: Architectural and linguistic evidence supports the historical assertion that Fifth-Century BCE Athenian theater spaces did not utilize raised stages.

True

Question 27 (Week 5 - Ancient Greece: Comedy Old and New): The foremost playwright of classical Athenian Old Comedy, known for satirical plays such as Lysistrata and The Frogs, was:

Aristophanes

Question 28 (Week 6 - Ancient Rome: Blood, Guts, and Popular Entertainment): The comedies of ancient Rome were based on:

Greek models

Question 29 (Week 5 - Ancient Greece: Comedy Old and New): Old Comedy dealt with:

Contemporary social and political issues

Question 30 (Week 5 - Ancient Greece: Comedy Old and New): In Greek Old Comedy, the choral choral address delivered directly to the audience on behalf of the dramatist is the:

Parabasis

Question 31 (Week 6 - Ancient Rome: Blood, Guts, and Popular Entertainment): __________ were short comedic sketches whose plots usually revolved around venal cuckolds and other low human motives.

Atellan farces

Question 32 (Week 6 - Ancient Rome: Blood, Guts, and Popular Entertainment): True or False: Lynchings in the United States and violent popular entertainments in Rome both affirmed prevalent social and political values of their respective societies.

True

Question 33 (Week 2 - History, Historians, and the Socratic Method): In the last few decades, academia in the U.S. has become more sensitized to the voices of the marginalized, ignored, and spurned due to:

Social movements led by those traditionally left out of the western historical narrative

Question 34 (Week 6 - Ancient Rome: Blood, Guts, and Popular Entertainment): Unlike Greek theaters that were built into hillsides, Roman theaters were freestanding structures made possible through the use of:

Concrete and arches

Question 35 (Week 4 - Ancient Greece: Tragedy, Aristotle, and Dialogic Theater): The Poetics refers to:

Aristotle's book on tragedy

Question 36 (Week 5 - Ancient Greece: Comedy Old and New): Old Comedy dealt with topical issues in a __________ manner.

Satirical

Question 37 (Week 5 - Ancient Greece: Comedy Old and New): True or False: The phallus, a mainstay of Greek tragedy, was banned in Greek Old Comedy.

False

Question 38 (Week 3 - Theater, Drama, Ritual, and Performance): The famous scene from Anton Chekhov's The Cherry Orchard discussed in the commentary concerns:

A marriage proposal that is never made

Question 39 (Week 6 - Ancient Rome: Blood, Guts, and Popular Entertainment): True or False: Unlike the ancient Greeks, the ancient Romans did NOT present theatrical performances at their state festivals.

False

Question 40 (Week 5 - Ancient Greece: Comedy Old and New): In Old Comedy, the agon was:

The episode in which the protagonist and antagonist debated the play's "happy idea" or central plan

Question 41 (Week 4 - Ancient Greece: Tragedy, Aristotle, and Dialogic Theater): According to Aristotle, in the best kind of tragedy, the anagnorisis and the peripeteia:

Happen simultaneously

Question 42 (Week 2 - History, Historians, and the Socratic Method): True or False: The commentary argues that premises we think of as value-neutral and self-evident may, in reality, reflect stories we have internalized.

True

Question 43 (Week 4 - Ancient Greece: Tragedy, Aristotle, and Dialogic Theater): Augusto Boal and Chantal Bilodeau are cited in the commentary because:

They offer strong critiques of Aristotle's analysis of tragedy