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# Theater Critic: The play La Finestrina, now at Central

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Theater Critic: The play La Finestrina, now at Central [#permalink]

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13 Dec 2010, 00:07
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Theater Critic: The play La Finestrina, now at Central Theater, was written in Italy in the eighteenth century. The director claims that this production is as similar to the original production as is possible in a modern theater. Although the actor who plays Harlequin the clown gives a performance very reminiscent of the twentieth-century American comedian Groucho Marx, Marx’s comic style was very much within the comic acting tradition that had begun in sixteenth-century Italy.

The considerations given best serve as part of an argument that

(A) modern audiences would find it hard to tolerate certain characteristics of a historically accurate performance of an eighteenth-century play.

(B) Groucho Marx once performed the part of the character Harlequin in La Finestrina .

(C) in the United States the training of actors in the twentieth century is based on principles that do not differ radically from those that underlay the training of actors in eighteenth-century Italy.

(D) the performance of the actor who plays Harlequin in La Finestrina does not serve as evidence against the director’s claim.

(E) the director of La Finestrina must have advised the actor who plays Harlequin to model his performance on comic performances of Groucho Marx.

[Reveal] Spoiler:
can anyone give a simple stucture of this argument?
which is premise, which is conclusion?
how can i analyse the logical chain?
thanks so much
[Reveal] Spoiler: OA

Last edited by abhimahna on 30 Apr 2017, 00:58, edited 1 time in total.
Edited the question
If you have any questions
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Re: Theater Critic: The play La Finestrina, now at Central [#permalink]

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13 Dec 2010, 07:07
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courtdancer wrote:
Theater Critic: The play La Finestrina, now at Central Theater, was written in Italy in the eighteenth century. The
director claims that this production is as similar to the original production as is possible in a modern theater.
Although the actor who plays Harlequin the clown gives a performance very reminiscent of the twentieth-century
American comedian Groucho Marx, Marx’s comic style was very much within the comic acting tradition that had
begun in sixteenth-century Italy.
The considerations given best serve as part of an argument that
(A) modern audiences would fi nd it hard to tolerate certain characteristics of a historically accurate
performance of an eighteenth-century play
(B) Groucho Marx once performed the part of the character Harlequin in La Finestrina
(C) in the United States the training of actors in the twentieth century is based on principles that do not differ
radically from those that underlay the training of actors in eighteenth-century Italy
(D) the performance of the actor who plays Harlequin in La Finestrina does not serve as evidence against the
director’s claim
(E) the director of La Finestrina must have advised the actor who plays Harlequin to model his performance on
comic performances of Groucho Marx

can anyone give a simple stucture of this argument?
which is premise, which is conclusion?
how can i analyse the logical chain?
thanks so much

Simple terms. A play that was staged in the 18th century is running in a theatre. The director says "I have tried to retain max originality that can be done in a modern theatre." But one actor(comedian) is imitating styles of a 20th century actor.

So there is a direct contradiction saying that 18th century originality is lost

But the 20th century actors style dates to the 16th century, which means that the comedian's act does not contradict the say of the director, as the comedian is imitating the 16th century style.

Hope this helps
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Re: Theater Critic: The play La Finestrina, now at Central [#permalink]

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12 May 2016, 10:40
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Theater Critic:The play La Finestrina, now at Central Theater, was written in Italy in the eighteenth century. The director claims that this production is as similar to the original production as is possible in a modern theater. Although the actor who plays Harlequin the clown gives a performance very reminiscent of the twentieth-century American comedian Groucho Marx, Marx’s comic style was very much within the comic acting tradition that had begun in sixteenth-century Italy.

The considerations given best serve as part of an argument that

(A) modern audiences would find it hard to tolerate certain characteristics of a historically accurate performance of an eighteenth-century play
(B) Groucho Marx once performed the part of the character Harlequin in La Finestrina
(C) in the United States the training of actors in the twentieth century is based on principles that do not differ
radically from those that underlay the training of actors in eighteenth-century Italy
(D) the performance of the actor who plays Harlequin in La Finestrina does not serve as evidence against the director’s claim
(E) the director of La Finestrina must have advised the actor who plays Harlequin to model his performance on comic performances of Groucho Marx[/quote]

In asking: "The considerations given best serve as part of an argument that" we're asked to see which of the 5 options can be inferred with 100% certainty. This is an Inference Question

Goal: Find the option that has to be 100% certain

Here's what we know:
Fact 1) La Finestrina, now at Central Theater, was written in Italy in the eighteenth century
Fact 2) The director claims that this production is as similar to the original production as is possible in a modern theater.
Fact 3) The actor who plays Harlequin the clown gives a performance very reminiscent of the twentieth-century American comedian Groucho Marx
Fact 4) Marx’s comic style was very much within the comic acting tradition that had begun in sixteenth-century Italy

All 4 wrong options can be eliminated because they CAN NOT be confirmed on the basis of the 4 facts:

(A) modern audiences would find it hard to tolerate certain characteristics of a historically accurate performance of an eighteenth-century play
How would we have any clue how modern audiences would react? Can you point to any part of the facts given that would guarantee how modern audiences would feel? No. That's good for us then. The right option has to be 100% supported, so this one is gone.

(B) Groucho Marx once performed the part of the character Harlequin in La Finestrina
The actor who plays Harlequinn is reminiscent of Groucho. Does that mean we can somehow infer that Groucho once played Harlequinn? He could have, but it's totally unsupported by this prompt.

(C) in the United States the training of actors in the twentieth century is based on principles that do not differ radically from those that underlay the training of actors in eighteenth-century Italy
Similarly, the passage in NO WAY equips us to comment on the training of either 20th century US actors or 18th century Italian actors. Not at all supported. Gone.

(E) the director of La Finestrina must have advised the actor who plays Harlequin to model his performance on comic performances of Groucho Marx
Just because the actor who plays Harlequinn is reminiscent of Goucho, 1) does that mean that the actor ACTUALLY modeled his acting after Groucho? Not necessarily. 2) Do we have any clue as to whether the director advised the actor to do so? Not at all. Completely unsupported. Gone.

That brings us to our right option:

(D) the performance of the actor who plays Harlequin in La Finestrina does not serve as evidence against the director’s claim
If someone seeing this question didn't understand that Inference questions ask for the option that must be 100% supported from the information in the prompt, they'd look at this option and be utterly baffled as to why it's the right option. It would seem so random. Here's the story though: do we know for a fact that the performance of the actor who plays Harlequin in La Finestrina does NOT serve as evidence against the director’s claim that "this production is as similar to the original production as is possible in a modern theater"? Yes. The information presented DOESN'T RUN COUNTER to the director's claim, therefore this information does not serve as evidence against the director's claim. 100% true.
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Re: Theater Critic: The play La Finestrina, now at Central [#permalink]

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13 Dec 2010, 07:14
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mailnavin1 wrote:
courtdancer wrote:
Theater Critic: The play La Finestrina, now at Central Theater, was written in Italy in the eighteenth century. The
director claims that this production is as similar to the original production as is possible in a modern theater.
Although the actor who plays Harlequin the clown gives a performance very reminiscent of the twentieth-century
American comedian Groucho Marx, Marx’s comic style was very much within the comic acting tradition that had
begun in sixteenth-century Italy.
The considerations given best serve as part of an argument that
(A) modern audiences would fi nd it hard to tolerate certain characteristics of a historically accurate
performance of an eighteenth-century play
(B) Groucho Marx once performed the part of the character Harlequin in La Finestrina
(C) in the United States the training of actors in the twentieth century is based on principles that do not differ
radically from those that underlay the training of actors in eighteenth-century Italy
(D) the performance of the actor who plays Harlequin in La Finestrina does not serve as evidence against the
director’s claim
(E) the director of La Finestrina must have advised the actor who plays Harlequin to model his performance on
comic performances of Groucho Marx

can anyone give a simple stucture of this argument?
which is premise, which is conclusion?
how can i analyse the logical chain?
thanks so much

Simple terms. A play that was staged in the 18th century is running in a theatre. The director says "I have tried to retain max originality that can be done in a modern theatre." But one actor(comedian) is imitating styles of a 20th century actor.

So there is a direct contradiction saying that 18th century originality is lost

But the 20th century actors style dates to the 16th century, which means that the comedian's act does not contradict the say of the director, as the comedian is imitating the 16th century style.

Hope this helps

So is the critic supporting the directors claim or criticizing the director's claim.
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Re: Theater Critic: The play La Finestrina, now at Central [#permalink]

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13 Dec 2010, 20:43
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Not necessary, a person who identifies merits and detest error and points them out on a work of art is a critic.

Like the Anton Ego in Ratatouille
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Re: Theater Critic: The play La Finestrina, now at Central [#permalink]

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20 Feb 2011, 20:40
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(B) is very funny. GMAT writers are not the very best !
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Re: Theater Critic: The play La Finestrina, now at Central [#permalink]

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13 Dec 2010, 04:37
I got this wrong.
I am confused abt the conclusion.
The critic says "Although the actor who plays Harlequin the clown gives a performance very reminiscent of the twentieth-century
American comedian Groucho Marx, Marx’s comic style was very much within the comic acting tradition that had
begun in sixteenth-century Italy."
This statement seems to convey that "the actor did not prerform according to the traditions prevalent in the 18th century"
Although the actor gives a performance reminiscent of the 20th century,the performance was not in keeping with the traditions of the 18th century.
The critics conclusion seems to be implicit.I dont think he agress with the director's claim. then How can D be the answer . D seems to be the opposite of what the critic seems to be conveying
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Re: Theater Critic: The play La Finestrina, now at Central [#permalink]

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13 Dec 2010, 07:37
+1 for D
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Re: Theater Critic: The play La Finestrina, now at Central [#permalink]

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13 Dec 2010, 07:54
mundasingh123 wrote:
mailnavin1 wrote:
courtdancer wrote:
Theater Critic: The play La Finestrina, now at Central Theater, was written in Italy in the eighteenth century. The
director claims that this production is as similar to the original production as is possible in a modern theater.
Although the actor who plays Harlequin the clown gives a performance very reminiscent of the twentieth-century
American comedian Groucho Marx, Marx’s comic style was very much within the comic acting tradition that had
begun in sixteenth-century Italy.
The considerations given best serve as part of an argument that
(A) modern audiences would fi nd it hard to tolerate certain characteristics of a historically accurate
performance of an eighteenth-century play
(B) Groucho Marx once performed the part of the character Harlequin in La Finestrina
(C) in the United States the training of actors in the twentieth century is based on principles that do not differ
radically from those that underlay the training of actors in eighteenth-century Italy
(D) the performance of the actor who plays Harlequin in La Finestrina does not serve as evidence against the
director’s claim
(E) the director of La Finestrina must have advised the actor who plays Harlequin to model his performance on
comic performances of Groucho Marx

can anyone give a simple stucture of this argument?
which is premise, which is conclusion?
how can i analyse the logical chain?
thanks so much

Simple terms. A play that was staged in the 18th century is running in a theatre. The director says "I have tried to retain max originality that can be done in a modern theatre." But one actor(comedian) is imitating styles of a 20th century actor.

So there is a direct contradiction saying that 18th century originality is lost

But the 20th century actors style dates to the 16th century, which means that the comedian's act does not contradict the say of the director, as the comedian is imitating the 16th century style.

Hope this helps

So is the critic supporting the directors claim or criticizing the director's claim.

See the word Although, Critic provides an evidence that support the directors claim.
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Re: Theater Critic: The play La Finestrina, now at Central [#permalink]

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13 Dec 2010, 13:22
mailnavin1 wrote:
mundasingh123 wrote:
[So is the critic supporting the directors claim or criticizing the director's claim.

See the word Although, Critic provides an evidence that support the directors claim.

I assumed all a critic is supposed to do is criticize
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Re: Theater Critic: The play La Finestrina, now at Central [#permalink]

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20 Feb 2011, 12:08
geesh, nice dude.+1 mailnavin1
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Re: Theater Critic: The play La Finestrina, now at Central [#permalink]

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20 Feb 2011, 19:13
I chose D.
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Re: Theater Critic: The play La Finestrina, now at Central [#permalink]

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27 Apr 2011, 07:52
these questions are taking quite some time to think . D is the answer but i took 3 minutes to crack this one
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Re: Theater Critic: The play La Finestrina, now at Central [#permalink]

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25 Mar 2013, 11:51
This is an inference question. Ans D it is the rest all cannot be concluded from the given argument.
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Re: Theater Critic: The play La Finestrina, now at Central [#permalink]

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13 Apr 2013, 08:09
I would go for D -

Original play - 18th century
Groucho's acting - 20th century but technique from 16th century
Director wants - a Modern take on an old play retaining the original style.
Actor - Uses Marx's 16th century acting.

So, since the actor apes a 20th century actor (Groucho), who actually uses 16th century acting, the actor is,in a way, using older techniques which are closer to how the original play might have been performed.

Groucho (20th century actor) -> uses 16th century acting
Actor -> uses Groucho's 16th century acting

Director Wins the argument..
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Re: Theater Critic: The play La Finestrina, now at Central [#permalink]

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24 May 2013, 07:14
(A) modern audiences would fi nd it hard to tolerate certain characteristics of a historically accurate
performance of an eighteenth-century play

Tolerance aspect never mentioned...Incorrect.

(B) Groucho Marx once performed the part of the character Harlequin in La Finestrina

Never mentioned that Marx played the part of the charac. Harlequin....Incorrect.

(C) in the United States the training of actors in the twentieth century is based on principles that do not differ
radically from those that underlay the training of actors in eighteenth-century Italy

Never mentioned.....Incorrect.

(D) the performance of the actor who plays Harlequin in La Finestrina does not serve as evidence against the
director’s claim

Correct....could be inferred....the actor acts like Marx...but no mention is he really acts well like the character...so no evidnce!

(E) the director of La Finestrina must have advised the actor who plays Harlequin to model his performance on
comic performances of Groucho Marx

Couldn't be infrd if the director ever advised....Incorrect
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Re: Theater Critic: The play La Finestrina, now at Central [#permalink]

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29 May 2014, 02:19
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Re: Theater Critic: The play La Finestrina, now at Central [#permalink]

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21 Feb 2015, 04:35
I picked the wrong answer. Actually the best explanation ist strated in the OG itself. I don't share the point that thater critic suported directo's claim, on opposite (you just don't start a sentence with although) the overal mood of the sentence is against directors point of view, in my opinion.
I won't adjust the answer choices to the correct answer, in order to try to justife this one. I'll just state the point from the OG.
16th century production could be similiar to that of 18th century and nothing in the argument says it's not, so the point from a critiv soen't serve as evidence against director's claim ...there are some assumptions due to justify his point.
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Re: Theater Critic: The play La Finestrina, now at Central [#permalink]

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03 Aug 2015, 01:19
I was able to understand the stimulus but found it difficult to understand the question stem, so ended up picking the wrong answer. Once i got to know that this is an inference question, it wasn't that difficult.
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Re: Theater Critic: The play La Finestrina, now at Central [#permalink]

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15 Oct 2015, 23:09
any idea what is the difficulty level for this qsn?
Re: Theater Critic: The play La Finestrina, now at Central   [#permalink] 15 Oct 2015, 23:09

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