Invisible theater and guerrilla theater are two forms of street theate

Question

Invisible theater and guerrilla theater are two forms of street theater with similar origins but very different approaches. Both forms take place exclusively in public places, but invisible theater conceals its performative nature whereas guerrilla theater flaunts it. While invisible theater creates a performance space unbeknownst to its audience, guerrilla theater actively seeks the attention of an audience by explicitly imposing a performance space onto a public place. Starting in the early 1970’s, Augusto Boal and fellow actors have staged scenes regarding social issues in public or semi-public places (e.g., restaurants), crafting their dialog and action to get a verbal reaction from bystanders. Because performers and non-performers remain distinct, invisible theater returns somewhat to the model set up by traditional theater. However, there are a few key differences. The performance space is created in public places without the awareness of non-performers. For non-performers, being beyond the performative space allows them to avoid the etiquette of theatergoing and removes that “lens” that unavoidably emerges when we feel we are viewing art or performance. If people do not suspect that they are viewing art, however, they are free to engage with the action and concepts of an unfolding drama as if these actions and concepts were real.

Boal has documented various successful instances of invisible theater in which non-performers actively listen, participate in public-spirited discussion, and even take unplanned public-minded action in response to the dialogue and events set up by invisible theater performers. Because onlookers think they are witnessing real life events, because the performers are bold in their statements, because the scripted characters are very vocal about what they are doing and experiencing, invisible theater is able to instigate political conversation within an everyday context; it successfully creates public forums out of thin air.

Guerrilla theater creates surprise performances in public, but is driven by the forceful imposition of “traditional” (if we can call anything about guerrilla theater “traditional”) theater. One example includes two professors of Galway’s University College who dressed in their robes and went out to the street, questioning pedestrians and awarding diplomas to the ones least able to provide good answers, as a way to protest their university’s decision to grant Ronald Reagan an honorary doctorate in law.

A large part of the goal of guerrilla theater is to get publicized, its message echoed over and over in our ever-expanding network of technology-interface mass media. Guerrilla theater knows it may antagonize its direct audience—it often hopes to, because conflict is more likely to be broadcast, and the goal of guerrilla theater is to get people talking publicly.    1 
 1. Which of the following can be inferred from the passage?

I. When people are unaware that they are viewing a performance, they tend to act more naturally.
II. Invisible theater is best described as improvisational.
III. One measure of the success of a theatrical performance can be the actions taken by the audience once the performance is over.

A. I Only
B. III Only
C. I and III Only
D. II and III Only
E. I, II, and III

2 
 2. The main point of the passage could best be described as

(A) a discussion of two different but aligned artistic currents
(B) an examination of which of two art forms is more effective at prompting political action
(C) a synopsis of the evolution of theater
(D) a presentation of two theatrical concepts that conceal their performative nature
(E) an overview of artistic life in public places

3 
 3. Which of the following is true of both invisible theater and guerrilla theater?

I. both have a goal of encouraging discourse
II. both impose performance space onto public location
III. both antagonize their audience

A. I Only
B. II Only
C. I and II Only
D. I and III Only
E. I, II, and III

4 
 4. The passage implies that the Galway professors believed which of the following?

(A) Guerrilla theater was superior to invisible theater.
(B) Protesting an honor could result in the revocation of the award.
(C) Granting Ronald Reagan a degree demeaned the intellectual standard of the university.
(D) Handing out diplomas was a legal activity.
(E) Ronald Reagan’s foreign policy had deleterious effects.

Manhattan GRE 5lb.

Carcass · Answer

Official Explanation Question #1

1st and 3rd only . According to the second paragraph, not knowing that they are seeing a theater piece allows viewers to “avoid the etiquette of theatergoing” and “engage with the action and concepts of an unfolding drama as if these actions and concepts were real.” This is a good match with the first statement. The third paragraph refers to “scripted characters” in invisible theater, so it cannot be inferred that “invisible theater is best described as improvised.” Another reference to “dialogue … set up by invisible theater performers” weighs against invisible theater being improvisational. The third paragraph begins, “Boal has documented various successful instances of invisible theater in which non-performers … take unplanned public-minded action in response to the dialogue and events set up by invisible theater performers.” The last sentence of the passage also states that “the goal of guerrilla theater is to get people talking publicly.” Thus, it can be inferred that “actions taken by the audience once the performance is over” can be one measure of success of a theater piece.

Sajjad1994 · Answer

Official Explanation

3. Which of the following is true of both invisible theater and guerrilla theater?

Explanation

The  first statement  is true, as the  third paragraph  goes into great detail about invisible theater’s goal of encouraging public-minded talk, and the passage ends with  “the goal of guerrilla theater is to get people talking publicly.”

The  second statement  is justified because the  first paragraph  states that  “ oth forms take place exclusively in public places.”

The  third choice  is mentioned only in regard to guerilla theater; invisible theater is only said to involve the audience.

Answer: C

Dolesh · Answer

Can anyone provide an explanation for Q4? Why is it C and not B?

Sajjad1994 · Answer

Hi Dolesh

The Galway professors’ example is in the guerrilla theater section:

... two professors of Galway’s University College who dressed in their robes and went out to the street, questioning pedestrians and awarding diplomas to the ones least able to provide good answers, as a way to protest their university’s decision to grant Ronald Reagan an honorary doctorate in law.

The symbolism is clear:

They  “award diplomas”  to people who give bad answers -----> satire of giving an honorary degree to Reagan.
 Implication:  They believe Reagan is as undeserving as those pedestrians giving poor answers.
Therefore, they think granting Reagan the degree lowers academic standards or makes a mockery of the university’s intellectual integrity.

No suggestion they believed the protest would revoke the award. Hence B is incorrect.

(C)  fits the symbolic protest: giving Reagan an honorary doctorate cheapens the value of the university’s degrees.

AnkitNandwani1 · Answer

Q2

Step 1. Identify the main point
The passage:
 
 Defines  invisible theater  and  guerrilla theater . 
 Shows how both originate from street theater and use public spaces. 
 Contrasts their  methods, audience relationship, and goals . 
 Does  not  argue which is better, nor trace full theater history.  
So the core intent is  compare and contrast two related theatrical forms .

Step 2. Evaluate each option

"(A) a discussion of two different but aligned artistic currents" 
Correct. The passage presents two related movements with similar origins in street theater but clearly different approaches to audience engagement and visibility. “Aligned” fits because they share context and purpose, even if tactics differ.
 "(B) an examination of which of two art forms is more effective at prompting political action" 
Incorrect. The passage describes effects of both but never evaluates or compares effectiveness directly. No judgment or metrics.
 "(C) a synopsis of the evolution of theater" 
Incorrect. The scope is narrow, focused on two specific contemporary forms, not theater broadly or historically.
 "(D) a presentation of two theatrical concepts that conceal their performative nature" 
Incorrect. Only invisible theater conceals performance. Guerrilla theater explicitly flaunts it. This contradicts the text.
 "(E) an overview of artistic life in public places" 
Incorrect. Too broad and vague. The passage is specifically about two forms of street theater, not public art in general.
 
Final Answer
 A

AnkitNandwani1 · Answer

Q4

Step 1. Prethink

The Galway example: professors dressed in robes, questioned pedestrians, and awarded diplomas to the least able to answer, to protest the university granting Ronald Reagan an honorary doctorate in law.

What belief must sit behind this stunt?
They are mocking the idea that a diploma is being given without merit. That implies they think the honorary degree cheapens academic standards.

Step 2. Evaluate options

"(A) Guerrilla theater was superior to invisible theater." 
No support. The professors are an example of guerrilla theater, but nothing implies a value judgment versus invisible theater.

Reject.

"(B) Protesting an honor could result in the revocation of the award." 
No evidence. The passage never suggests they expected the degree to be revoked. The goal described is publicity and provoking discussion, not reversal of the decision.

Reject.

"(C) Granting Ronald Reagan a degree demeaned the intellectual standard of the university." 
Yes. By awarding diplomas to people who performed poorly, they symbolically equate Reagan’s honorary degree with low academic merit. That only makes sense if they believe the award undermines academic standards.

Keep.

"(D) Handing out diplomas was a legal activity." 
Irrelevant. Their action being legal is never implied and not required for the protest to make sense.

Reject.

"(E) Ronald Reagan’s foreign policy had deleterious effects." 
Too specific and not stated. The protest targets the granting of the degree, not his policies.

Reject.

Final Answer

C

SD1026 · Answer

3. Which of the following is true of both invisible theater and guerrilla theater?

I. both have a goal of encouraging discourse
II. both impose performance space onto public location
III. both antagonize their audience

A. I Only    
B. II Only
C. I and II Only
D. I and III Only
E. I, II, and III

I. both have a goal of encouraging discourse

From the passage: 
 Lines about Invisible theater:

. "Invisible theater is able to instigate political conversation within an everyday context; it successfully creates public forums out of thin air."-   2nd paragraph  
  . "Boal has documented various successful instances of invisible theater in which non-performers actively listen, participate in public-spirited discussion"  -   2nd paragraph

Lines about Guerilla theater: 
  The goal of guerrilla theater is to get people talking publicly.-   4th paragraph

Each form aim to get people talking or discussing ideas

So statement 1 is true

II. both impose performance space onto public location

Invisible theater: 
 
  “Invisible theater  conceals its performative nature ”  
  “The performance space is created in public places  without the awareness of non-performers ”  
  Non-performers are “ beyond the performative space ” and avoid the etiquette of theatergoing   
 Guerrilla theater: 
 
  “Guerrilla theater  actively seeks the attention of an audience ”  
  It “ explicitly imposes a performance space onto a public place ”

So invisible theater does not impose a performance space onto the audience.

So statement II is not true of both.

III. both antagonize their audience

From the passage:

Invisible theater: 
 
   Non-performers “actively listen”   
   They “participate in public-spirited discussion”   
   They may take “public-minded action” in response to events    
 Guerrilla theater : 
 
  “ It may antagonize its direct audience ”  
  “It often    hopes to   , because conflict is more likely to be broadcast"   
  No indication that invisible theater aims to provoke or antagonize

So statement III is not true of both.

The answer is A, but the answer key says C. Based on the passage, it seems like it should be A.

Sajjad1994 · Answer

Official Explanation   
  
1. Which of the following can be inferred from the passage?

According to the  second paragraph , not knowing that they are seeing a theater piece allows viewers to  “avoid the etiquette of theatergoing”  and  “engage with the action and concepts of an unfolding drama as if these actions and concepts were real.”  This is a good match with the  first statement.

The  third paragraph  refers to  “scripted characters”  in invisible theater, so it cannot be inferred that  “invisible theater is best described as improvised.”  Another reference to  “dialogue ... set up by invisible theater performers”  weighs against invisible theater being improvisational.

The  third paragraph  begins,  “Boal has documented various successful instances of invisible theater in which non-performers ... take unplanned public-minded action in response to the dialogue and events set up by invisible theater performers.”  The  last sentence  of the passage also states that  “the goal of guerrilla theater is to get people talking publicly.”  Thus, it can be inferred that  “actions taken by the audience once the performance is over”  can be one measure of success of a theater piece.

Answer: C

Invisible theater and guerrilla theater are two forms of street theate

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Invisible theater and guerrilla theater are two forms of street theate

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