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 1970s, 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 nonperformers 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 nonperformers 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 
 Consider each of the answer choices separately and indicate all that apply.

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

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

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  
 Consider each of the answer choices separately and indicate all that apply.

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

A. Both have a goal of encouraging discourse.
B. Both impose performance space onto public location.
C. Both antagonize their audience.

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.

5  
 Consider each of the answer choices separately and indicate all that apply.

5. Which of the following, if true, would undermine the principle of invisible theater?

A. When people knowingly view art, their heightened attention increases their perception and involvement.
B. Audience members watch a performance and later report to others what happened, still not knowing that the event was a theater piece.
C. A lively debate about public issues is brought to a halt by the imposition of scripted characters inserting theatrical dialogue.

Sajjad1994 · Answer

OE

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: A,C

Sajjad1994 · Answer

OE

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

In the first sentence, the author calls invisible theater and guerrilla theater  “two forms of street theater with similar origins but very different approaches.”  This is a good match with  choice (A) .

Choice (B)  is incorrect because the passage doesn’t say which form is more effective.

Choice (C)  is too broad and the evolution is not the focus.

Choice (D)  is incorrect because the first paragraph states clearly that  “invisible theater conceals its performative nature whereas guerrilla theater flaunts it.”

Choice (E)  is too broad as the passage does not cover all artistic life in public places. 
 
  Answer: A

Sajjad1994 · Answer

OE

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

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 guerrilla theater; invisible theater is only said to involve the audience. 
 
  Answer: A,B

Sajjad1994 · Answer

OE

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

The professors gave diplomas to the people who were the least able to answer questions as a way to mock the university’s decision. This matches  choice (C) .

Choice (A)  does not have to be true because the passage merely discusses the form of the professors’ protest.

Choice (B)  cannot be justified since it doesn’t have to be true that the professors believed that result would follow.

Similarly,  choice (D)  is wrong because it is not certain that the professors considered the legality of their actions.

Choice (E)  is not justifiable—no information is given about any particular policies the professors decried.

Answer: C

Sajjad1994 · Answer

OE

5. Which of the following, if true, would undermine the principle of invisible theater?

The first statement, if true, would contradict the assumption of invisible theater that removing the boundary between performer and audience encourages involvement. The second statement describes a very likely result, and a goal, of invisible theater, and thus would not  “undermine”  the principle of invisible theater. The third statement describes a situation where the goal of invisible theater—a lively debate about public issues—was already happening, and invisible theater ruined it! This would definitely undermine the principle of invisible theater. 
  
  Answer: A,C

Invisible theater and guerrilla theater are two forms of street theate

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