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Canary Islands PAU Dramatic Literature Exam study materials
Canary Islands PAU Dramatic Literature Exam study resources

Canary Islands PAU Dramatic Literature Exam practice questions

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Question 1Tragedy and comedy in Greek and Roman theatre

In Aristotle's account of tragedy in the Poetics, which element does he identify as the source of the reversal of fortune that drives the plot?

  1. The melos, or sung lyric portions
  2. The spectacle staged before the audience
  3. The dianoia, or thought expressed in speeches
  4. The mythos, or structured arrangement of incidents Correct answer.

Explanation

Aristotle ranks mythos as the most important element of tragedy, calling it the soul of the drama, because tragedy imitates action rather than persons. Reversal and recognition arise from the way incidents are arranged, not from spectacle or song.

Question 2Tragedy and comedy in Greek and Roman theatre

Which term does Aristotle use for the tragic flaw or error in judgement that contributes to a hero's downfall?

  1. Anagnorisis
  2. Peripeteia
  3. Hamartia Correct answer.
  4. Catharsis

Explanation

Hamartia denotes the error or misjudgement through which a basically admirable protagonist falls into misfortune. It is distinct from peripeteia, the reversal of circumstances, and from anagnorisis, the moment of recognition.

Question 3Tragedy and comedy in Greek and Roman theatre

In Greek dramatic production, the term 'skene' originally designated which physical feature of the theatre?

  1. The tent or hut behind the acting area Correct answer.
  2. The machine used to lower deities onto the stage
  3. The circular dancing floor of the chorus
  4. The wedge-shaped seating of the audience

Explanation

Skene derives from a word for tent, and it began as a temporary structure behind the orchestra before becoming a permanent stage building with doors and a facade. The orchestra was the chorus's circular dancing area, and the seating was the theatron.

Question 4Tragedy and comedy in Greek and Roman theatre

Which surviving play is the only complete satyr drama from classical Athens?

  1. The Trachiniae of Sophocles
  2. The Persians of Aeschylus
  3. The Birds of Aristophanes
  4. The Cyclops of Euripides Correct answer.

Explanation

Euripides' Cyclops is the sole satyr play preserved in full, dramatising Odysseus' encounter with Polyphemus. Satyr plays were comic pieces performed after a tragic trilogy at the Dionysia.

Question 5Tragedy and comedy in Greek and Roman theatre

The chorus in Old Comedy typically addresses the audience directly in a section that breaks dramatic illusion to argue the poet's case. What is this section called?

  1. Kommos
  2. Parabasis Correct answer.
  3. Parodos
  4. Exodos

Explanation

The parabasis is the choral interlude in Aristophanic comedy in which the chorus steps out of character to speak for the playwright. The parodos is the chorus's entrance song, and the exodos is the closing exit.

Question 6Tragedy and comedy in Greek and Roman theatre

In Sophocles' Oedipus Tyrannus, Oedipus' discovery of his true identity and his fulfilment of the prophecy is an example of which tragic device?

  1. Agon
  2. Anagnorisis Correct answer.
  3. Deus ex machina
  4. Stichomythia

Explanation

Anagnorisis is the recognition, a change from ignorance to knowledge, often about identity or kinship. Oedipus' realisation of who he is and what he has done is the paradigm case of this device in Aristotle's analysis.

Question 7Tragedy and comedy in Greek and Roman theatre

Roman comedy of the type written by Plautus and Terence, adapted from Greek models, is conventionally known by which Latin term?

  1. Fabula satura
  2. Fabula palliata Correct answer.
  3. Fabula praetexta
  4. Fabula togata

Explanation

Fabula palliata takes its name from the pallium, the Greek cloak worn by its characters, marking its Greek setting. It contrasts with the togata, set in Italy and wearing the toga, and the praetexta, on Roman historical themes.

Question 8Tragedy and comedy in Greek and Roman theatre

The masks worn by actors in Greek and Roman theatre served a practical function beyond character portrayal. Which function is most commonly cited?

  1. Marking the playwright's personal presence on stage
  2. Indicating the social rank of the audience member
  3. Allowing actors to perform without costumes
  4. Amplifying the voice and fixing a recognisable type Correct answer.

Explanation

The open mouth and hollow shape of the mask are traditionally said to aid vocal projection in large open-air venues, while the painted features fixed a recognisable character type. Masks also allowed one actor to play several roles.

Question 9Tragedy and comedy in Greek and Roman theatre

Aristophanes' Lysistrata is best classified within which comic tradition?

  1. New Comedy of manners
  2. Old Comedy of political and social satire Correct answer.
  3. Roman fabula palliata
  4. Mime of everyday domestic life

Explanation

Lysistrata belongs to Old Comedy, characterised by fantasy plots, obscenity, direct political comment and a strong choral presence. New Comedy, by contrast, centres on domestic intrigue and private life.

Question 10Tragedy and comedy in Greek and Roman theatre

In the Poetics, Aristotle states that tragedy effects the purgation of which two emotions?

  1. Pity and fear Correct answer.
  2. Shame and pride
  3. Joy and grief
  4. Anger and envy

Explanation

Aristotle defines tragedy as arousing pity and fear in order to accomplish their catharsis. Pity is felt for undeserved suffering, fear for a misfortune that could befall oneself.

Question 11Tragedy and comedy in Greek and Roman theatre

Which Roman playwright is known for comedies built on stock characters such as the braggart soldier and the clever slave, and for lively, song-like verse?

  1. Terence
  2. Horace
  3. Seneca
  4. Plautus Correct answer.

Explanation

Plautus is celebrated for boisterous plots, stock types like the miles gloriosus and the servus callidus, and metrically varied, musical dialogue. Terence is smoother and more restrained, while Seneca wrote tragedies.

Question 12Tragedy and comedy in Greek and Roman theatre

A Greek tragedy that opens with a prologue in which a god explains the background and foretells the outcome is using which structural device?

  1. Deus ex machina
  2. Expositional prologue Correct answer.
  3. Episode
  4. Parodos

Explanation

The expositional prologue, often spoken by a deity such as Aphrodite in Euripides' Hippolytus, supplies the mythic background and frames the audience's expectations. It is distinct from the parodos, the chorus's entrance, and from episodes between choral songs.

Question 13Tragedy and comedy in Greek and Roman theatre

In Sophocles' Antigone, the conflict between Antigone and Creon over the burial of Polynices is often analysed as a clash between which two claims?

  1. Personal wealth and civic poverty
  2. Divine or family law and the law of the state Correct answer.
  3. Youthful passion and aged reason
  4. Foreign custom and local tradition

Explanation

Antigone insists on the unwritten laws of the gods and the duty owed to a brother, while Creon asserts the authority of the city's decree. The tragedy dramatises the collision of these competing obligations rather than a simple contest of right against wrong.

Question 14Tragedy and comedy in Greek and Roman theatre

Which feature most clearly marks a play as a tragedy rather than a comedy in the Greek theatrical tradition?

  1. A plot moving toward suffering or death for the protagonist Correct answer.
  2. A chorus that sings and dances
  3. Performance at a religious festival
  4. Use of masks and costumes

Explanation

The decisive generic marker is the movement of the action toward a serious, often disastrous outcome for the protagonist. Choral song, masks and festival performance were shared by tragedy, comedy and satyr drama alike.

Question 15Tragedy and comedy in Greek and Roman theatre

In Aristophanic comedy, the section in which the protagonist successfully carries out a fantastic scheme and is celebrated is best described as which phase?

  1. The agon, or formal debate
  2. The parabasis, or choral address
  3. The prologue, or opening exposition
  4. The triumph and komos, or festive celebration Correct answer.

Explanation

After the debate and the parabasis, Old Comedy typically shows the hero's scheme succeeding, followed by a festive celebration or komos. The agon is the earlier debate, and the prologue merely sets up the situation.

Question 16Tragedy and comedy in Greek and Roman theatre

Seneca's tragedies differ from their Greek models most notably in which respect?

  1. They emphasise rhetorical declamation and gruesome horror Correct answer.
  2. They were written for performance only at the Dionysia
  3. They avoid mythological subjects
  4. They omit the chorus entirely

Explanation

Seneca's plays foreground extended rhetorical speeches, sententiae and vivid scenes of violence and the supernatural, reflecting Roman declamatory culture. They retain choruses and draw heavily on Greek myth, and were not tied to Athenian festival performance.

Question 17Tragedy and comedy in Greek and Roman theatre

The term 'deus ex machina' refers to a resolution in which a god is brought in to settle the plot. From what does the phrase derive?

  1. The trapdoor beneath the orchestra
  2. The crane that hoisted the deity above the stage Correct answer.
  3. The curtain that concealed the scene building
  4. The altar where sacrifices were offered

Explanation

The mechane was a crane-like device used to fly actors, often gods, above the stage building, giving rise to the Latin phrase deus ex machina. It was especially associated with Euripidean endings.

Question 18Tragedy and comedy in Greek and Roman theatre

In Menander's New Comedy, the typical plot centres on which concerns?

  1. Young lovers overcoming obstacles to marriage Correct answer.
  2. Political rivalry between rival generals
  3. The fall of cities and the will of the gods
  4. The heroic deeds of mythological warriors

Explanation

New Comedy, exemplified by Menander, focuses on domestic situations: young lovers, obstructive parents, recognition of lost children and the resolution of marriage. It largely abandons the political and fantastic plots of Old Comedy.

Question 19Tragedy and comedy in Greek and Roman theatre

A director staging a Greek tragedy wants the chorus to perform its entrance song. Which term should the programme use for this moment?

  1. Parodos Correct answer.
  2. Kommos
  3. Epilogue
  4. Stasimon

Explanation

The parodos is the chorus's first entrance and its accompanying song. Later choral songs between episodes are stasima, and a kommos is a shared lament.

Question 20Tragedy and comedy in Greek and Roman theatre

Which statement best captures the difference between Old Comedy and New Comedy in Athens?

  1. Old Comedy is domestic and romantic; New Comedy is political and fantastic
  2. Old Comedy is written in prose; New Comedy is written in verse
  3. Old Comedy uses no chorus; New Comedy relies on the chorus
  4. Old Comedy is political and fantastic; New Comedy is domestic and romantic Correct answer.

Explanation

Old Comedy, represented by Aristophanes, is marked by political satire, fantasy and a strong choral voice, while New Comedy, represented by Menander, turns to domestic intrigue and romance. Both were composed in verse, and the chorus's role diminished in New Comedy.

Question 21Tragedy and comedy in Greek and Roman theatre

In Euripides' Medea, the protagonist's murder of her children is often read as a critique of which Athenian institution?

  1. The subordinate legal and social position of women and foreigners Correct answer.
  2. The civic ideal of the citizen-soldier
  3. The funding of the navy through liturgies
  4. The practice of consulting the Delphic oracle

Explanation

Medea, a foreign woman abandoned by her Greek husband, exposes the vulnerability of women and outsiders within Athenian marriage and citizenship. Her revenge dramatises the consequences of that powerlessness rather than commenting on military or naval institutions.

Question 22Tragedy and comedy in Greek and Roman theatre

Roman adaptations of Greek comedy were performed at which kind of occasion in the Republican period?

  1. Religious festivals such as the Ludi Romani and Ludi Megalenses Correct answer.
  2. Sessions of the Senate
  3. Athletic contests in the gymnasium
  4. Private symposia in aristocratic houses only

Explanation

Roman stage plays were staged at state religious festivals, including the Ludi Romani and the Ludi Megalenses, where magistrates sponsored performances. They were public events tied to the civic calendar rather than private symposia.

Question 23Tragedy and comedy in Greek and Roman theatre

Aristotle argues that the best tragic plots avoid a wholly good man falling from prosperity into misery, and instead present a protagonist who is which kind of figure?

  1. A person of ordinary moral character who suffers undeservedly
  2. A villain who deserves his downfall entirely
  3. A man of high reputation who errs through some flaw Correct answer.
  4. A god who descends to intervene in human affairs

Explanation

Aristotle prefers a protagonist of great reputation and prosperity who falls through some hamartia, so that the change is neither morally repugnant nor merely gratifying. This produces the pity and fear proper to tragedy.

Question 24Tragedy and comedy in Greek and Roman theatre

The Roman comic convention of 'contaminatio', associated with Terence, refers to which practice?

  1. Replacing the chorus with mime actors
  2. Combining material from two or more Greek originals into a single Latin play Correct answer.
  3. Substituting Roman gods for Greek ones
  4. Improvising scenes without a script

Explanation

Contaminatio describes the blending of scenes or plots drawn from more than one Greek model into a single Latin comedy. Terence's critics accused him of this practice, which he defended in his prologues.

Question 25Tragedy and comedy in Greek and Roman theatre

Scholars debate whether Senecan tragedy was intended for full staging or for recitation. Which piece of evidence is most often cited in favour of recitation?

  1. The presence of elaborate choral odes
  2. The division of the plays into five acts
  3. The absence of stage directions and the abundance of long rhetorical speeches Correct answer.
  4. The use of Greek mythological plots

Explanation

The lack of staging cues and the dominance of extended declamatory speeches and narrative messenger reports are cited as signs that the plays may have been written for recitation. Choral odes and five-act structure are compatible with either staging or recitation.

Question 26Tragedy and comedy in Greek and Roman theatre

In Aristotle's account of tragedy in the Poetics, which element does he identify as the most important and describe as the 'soul' of the drama?

  1. The melody (melos), which gives the chorus its emotional force
  2. The plot (mythos), understood as the arrangement of the incidents Correct answer.
  3. The diction (lexis), because it conveys the characters' thoughts
  4. The spectacle (opsis), since it moves the audience most directly

Explanation

Aristotle ranks the six elements of tragedy and places plot (mythos) first, calling it the principle and, as it were, the soul of tragedy, because tragedy imitates action rather than character. Spectacle he explicitly ranks last and considers least artistic, since it depends on the staging rather than on the poet's craft.

Question 27Tragedy and comedy in Greek and Roman theatre

A student argues that a play in which a virtuous hero moves from happiness to misery and dies unreconciled must be the finest kind of tragedy. How does Aristotle's Poetics assess this claim?

  1. It treats it as equivalent to comedy, because the audience's pity is replaced by indignation at injustice
  2. It endorses it fully, because the greatest suffering produces the strongest pity and fear in the audience
  3. It accepts it only when the hero is a member of a ruling house, since noble birth increases the fall's impact
  4. It rejects such a plot as not tragic in the best sense, since the change should not be from prosperity to misery for a wholly good man Correct answer.

Explanation

Aristotle identifies three possible plot structures and says the best is the change from prosperity to adversity for a man who is neither wholly good nor wholly bad, falling through some error (hamartia). A blameless man's ruin is described as shocking rather than tragic, producing neither pity nor fear in the proper tragic sense.

Question 28Tragedy and comedy in Greek and Roman theatre

Which description best characterises the function of the chorus in a surviving play by Seneca, compared with the chorus of Attic tragedy?

  1. It performs the role of the comic parabasis, addressing the audience directly on civic matters
  2. It is absent altogether, since Senecan tragedy was written for recitation without a chorus
  3. Its odes are often detached lyric set-pieces whose link to the action is looser than in Greek practice Correct answer.
  4. It engages in sustained stichomythic dialogue with the protagonist throughout the play

Explanation

Seneca retains choral odes, but they frequently stand apart from the dramatic action, functioning as lyrical interludes that comment on themes such as fate, death or power rather than participating in the plot. The close integration of chorus and action found in Aeschylus or Sophocles is generally not maintained.

Question 29Tragedy and comedy in Greek and Roman theatre

In Greek tragedy, the term 'peripeteia' designates a specific turn in the action. Which situation is the clearest example of it?

  1. A character delivers a long speech recounting events that occurred before the play began
  2. The chorus sings an entrance song as it processes into the orchestra
  3. A messenger arrives intending to reassure the queen and instead reveals the truth that destroys her Correct answer.
  4. A god appears above the scene building to announce the final settlement of the plot

Explanation

Peripeteia is the reversal of the situation into its opposite, a change bound up with the plot's probable or necessary sequence. The classic instance is a messenger whose intended good news produces the opposite effect, as with the Corinthian messenger in Oedipus Tyrannus.

Question 30Tragedy and comedy in Greek and Roman theatre

A director wants to stage a Roman comedy in a way that respects the conventions of the palliata. Which choice best reflects the genre's characteristic practice?

  1. Translating the Greek play faithfully and removing all song, dance and direct address to the audience
  2. Presenting the play without masks so that the actors' faces can convey the subtle psychology of the characters
  3. Keeping the Greek setting and costumes but adding Italian elements such as Roman streets, market talk and topical jokes Correct answer.
  4. Replacing the stock slave with a dignified senatorial figure so the comedy conveys no social inversion

Explanation

Roman comedy adapted Greek New Comedy plots but freely Romanised them, retaining Greek titles, names and settings while introducing Italian topography, proverbs and topical allusion. Song and dance, masks and audience address were central to performance, and the clever slave remained a defining figure.

Question 31Medieval and Renaissance dramatic forms

En el teatro medieval castellano, ¿qué nombre recibe el auto sacramental breve de tema navideño en el que pastores y, a veces, figuras alegóricas adoran al Niño recién nacido?

  1. Auto de Navidad o representación del nacimiento Correct answer.
  2. Entremés de figuras
  3. Misterio de la Pasión
  4. Danza de la Muerte

Explanation

El auto de Navidad desarrolla la adoración de los pastores y, en ocasiones, incorpora personajes alegóricos que comentan el misterio de la Encarnación. Se distingue de los misterios pasionales, centrados en la crucifixión, y de los entremeses cómicos del siglo XVI.

Question 32Medieval and Renaissance dramatic forms

¿Cuál es el rasgo formal más característico de la Danza de la Muerte castellana medieval?

  1. El uso exclusivo de prosa retórica sin métrica
  2. El diálogo en series de coplas entre la Muerte y representantes de distintos estados sociales Correct answer.
  3. La estructura en cinco actos con coro final
  4. La alternancia de coplas líricas con acotaciones escénicas en prosa

Explanation

La Danza de la Muerte se organiza en series de coplas donde la Muerte invita sucesivamente a morir a papas, emperadores, caballeros y campesinos, igualando a todos los estamentos. Ese diálogo estrófico y acumulativo constituye su armazón dramático esencial.

Question 33Medieval and Renaissance dramatic forms

En el teatro litúrgico medieval, el tropo dramático consiste en:

  1. Una danza procesional ejecutada por clérigos ante el altar
  2. Un grabado que ilustraba los manuscritos teatrales
  3. Un sermón en verso con personajes alegóricos
  4. Una breve amplificación cantada del texto litúrgico que da origen a diálogos dramáticos Correct answer.

Explanation

El tropo nace como amplificación musical y textual de pasajes litúrgicos, especialmente el Quem quaeritis pascual. De esa breve interpolación dialogada surgieron las primeras formas dramáticas del teatro medieval europeo.

Question 34Medieval and Renaissance dramatic forms

¿Qué figura dramática medieval castellana actúa como mediadora entre el público y el mundo sobrenatural, a menudo con rasgos cómicos y lenguaje popular?

  1. El gracioso del Siglo de Oro
  2. El bobo del auto sacramental calderoniano
  3. La pastora-rapsoda o el pastor rústico Correct answer.
  4. El corifeo griego

Explanation

En el teatro medieval castellano, el pastor rústico o la figura que hace de rapsoda conecta la acción sagrada con el público mediante comentarios, humor y lenguaje coloquial. Esta función antecede al gracioso áureo pero no se confunde con él.

Question 35Medieval and Renaissance dramatic forms

El Códice de Autos Viejos, recopilación de piezas breves de los siglos XV y XVI, se conserva actualmente en:

  1. La Biblioteca Capitular de Toledo
  2. La Biblioteca Nacional de Francia
  3. La Biblioteca Nacional de Madrid Correct answer.
  4. El Archivo de la Corona de Aragón

Explanation

El llamado Códice de Autos Viejos, que reúne numerosos autos y coloquios religiosos de transición entre la Edad Media y el Renacimiento, se custodia en la Biblioteca Nacional de España, en Madrid. Su contenido es fuente capital para el estudio del teatro prelopesco.

Question 36Medieval and Renaissance dramatic forms

¿Qué autor dramático del siglo XVI compuso la Tragicomedia de Calisto y Melibea, conocida como La Celestina, obra clave en la transición hacia el teatro renacentista?

  1. Fernando de Rojas Correct answer.
  2. Bartolomé de Torres Naharro
  3. Juan del Encina
  4. Gil Vicente

Explanation

Fernando de Rojas escribió la Tragicomedia de Calisto y Melibea, cuya primera versión, la Comedia, apareció en 1499. Su forma dialogada y su extensión la sitúan en el límite entre la comedia humanística y el drama moderno.

Question 37Medieval and Renaissance dramatic forms

En la Égloga de Plácida y Vitoriano de Juan del Encina, el desenlace incorpora un elemento característico del teatro religioso medieval. ¿Cuál es?

  1. La danza final de pastores ante el altar
  2. El juicio público ante un tribunal civil
  3. La intervención de Venus y Mercurio para resucitar a Plácida Correct answer.
  4. La apoteosis del héroe guerrero

Explanation

La égloga de Encina resuelve trágicamente el suicidio de Plácida mediante la intervención de Venus y Mercurio, que la devuelven a la vida. Ese desenlace de raíz alegórico-maravillosa entronca con recursos del teatro religioso medieval.

Question 38Medieval and Renaissance dramatic forms

¿Qué rasgo distingue las farsas de Gil Vicente dentro del teatro peninsular del primer Renacimiento?

  1. La mezcla de sátira social, alegoría y elementos líricos en lengua vulgar Correct answer.
  2. La supresión de todo personaje alegórico
  3. El uso exclusivo del latín litúrgico
  4. La imitación estricta de las unidades aristotélicas

Explanation

Gil Vicente combina sátira de costumbres, personajes alegóricos y pasajes líricos en portugués y castellano, sin someterse a las reglas clásicas. Su obra, como la Farsa de Inês Pereira, muestra esa libertad formal y temática.

Question 39Medieval and Renaissance dramatic forms

En la Propalladia de Torres Naharro, el término 'comedia a fantasía' designa:

  1. Una comedia escrita enteramente en latín
  2. Una comedia de invención libre, sin sujeción a un modelo real previo Correct answer.
  3. Una comedia basada en hechos históricos documentados
  4. Una comedia de tema exclusivamente religioso

Explanation

Torres Naharro distingue en su prólogo entre comedia a noticia, fundada en hechos reales, y comedia a fantasía, de invención libre. Esta clasificación teórica anticipa la reflexión sobre verosimilitud y ficción en el teatro renacentista.

Question 40Medieval and Renaissance dramatic forms

¿Qué función cumple el 'introito' en las comedias de Torres Naharro?

  1. Exponer el argumento y captar la benevolencia del público antes de la acción Correct answer.
  2. Cerrar la obra con una moraleja religiosa
  3. Marcar el cambio de escena mediante un aparte
  4. Sustituir al coro en los entreactos

Explanation

El introito es un prólogo pronunciado por un personaje, a menudo rústico, que resume el argumento y solicita la atención del auditorio. Cumple así una función captatio benevolentiae antes del desarrollo dramático.

Question 41Medieval and Renaissance dramatic forms

La comedia humanística del Renacimiento, de la que es ejemplo la Himenea de Torres Naharro, se caracteriza por:

  1. La imitación de modelos clásicos latinos con intriga amorosa y personajes tipificados Correct answer.
  2. El uso de coros trágicos al final de cada acto
  3. La ausencia total de diálogo
  4. El tema exclusivamente hagiográfico

Explanation

La comedia humanística recupera modelos latinos, sobre todo Plauto y Terencio, y desarrolla intrigas amorosas con personajes tipificados como el viejo, el criado o la dama. La Himenea participa de esa estela clasicista dentro del teatro castellano.

Question 42Medieval and Renaissance dramatic forms

En el teatro medieval, la técnica de la 'simultaneidad escénica' consiste en:

  1. Dividir la obra en dos jornadas
  2. Representar varias acciones en distintos lugares del espacio escénico a la vez Correct answer.
  3. Suprimir los apartes del personaje cómico
  4. Alternar dos actores en un mismo papel

Explanation

La simultaneidad escénica dispone varios lugares dramáticos (mansiones) visibles al mismo tiempo, de modo que la acción puede desarrollarse en ellos sin cambiar de decorado. Es un recurso típico del teatro religioso medieval.

Question 43Medieval and Renaissance dramatic forms

¿Qué papel desempeñan los 'mansiones' o 'casas' en la puesta en escena del drama litúrgico medieval?

  1. Son los libros de coro usados por los clérigos
  2. Son los lugares dramáticos distribuidos en el espacio escénico para situar la acción Correct answer.
  3. Son los vestidos alegóricos de los personajes
  4. Son los asientos reservados al público noble

Explanation

Las mansiones son los distintos lugares dramáticos, como el pesebre, el palacio o el sepulcro, dispuestos simultáneamente en el espacio escénico. El público se desplaza o dirige la mirada de una a otra según avanza la acción.

Question 44Medieval and Renaissance dramatic forms

En el Auto de los Reyes Magos, único fragmento dramático castellano medieval conservado de tema navideño, los personajes centrales son:

  1. Los tres reyes magos, Herodes y un coro de ángeles Correct answer.
  2. Un caballero y su escudero
  3. Pastores y un demonio tentador
  4. La Virgen y san José en el portal

Explanation

El Auto de los Reyes Magos dramatiza la llegada de los magos guiados por la estrella, su entrevista con Herodes y la adoración del Niño. La pieza, transmitida fragmentariamente, es el testimonio más antiguo del teatro castellano.

Question 45Medieval and Renaissance dramatic forms

La 'égloga dramática' de Juan del Encina se caracteriza por:

  1. La narración épica en octavas reales sin diálogo
  2. El debate teológico en prosa latina
  3. La sátira política contra la nobleza castellana
  4. La representación dialogada de pastores en un marco rústico, con temas amorosos o religiosos Correct answer.

Explanation

La égloga dramática de Encina pone en escena pastores que dialogan y cantan en un marco rústico, tratando asuntos amorosos o navideños. Su forma dialogada y su lirismo la convierten en puente entre la lírica pastoril y el teatro renacentista.

Question 46Medieval and Renaissance dramatic forms

En la Farsa de Inês Pereira de Gil Vicente, el personaje epónimo se caracteriza por:

  1. Su rechazo absoluto del matrimonio y de la vida social
  2. Su vocación religiosa y su ingreso en un convento
  3. Su deseo de ascender socialmente mediante un matrimonio ventajoso, con desengaño final Correct answer.
  4. Su papel de alcahueta profesional

Explanation

Inês Pereira aspira a un marido que le permita mejorar de posición y rechaza al pretendiente humilde, pero su elección la conduce al desengaño. La farsa satiriza así las ilusiones de ascenso social y la condición matrimonial de la mujer.

Question 47Medieval and Renaissance dramatic forms

¿Qué diferencia esencial separa el auto sacramental medieval del auto sacramental barroco calderoniano?

  1. El medieval carece de personajes alegóricos, mientras el barroco los multiplica
  2. El medieval suele apoyarse en episodios bíblicos y litúrgicos, mientras el barroco construye una alegoría teológica autónoma Correct answer.
  3. El medieval se escribe en prosa y el barroco en verso
  4. El medieval se representa solo en iglesias y el barroco solo en corrales

Explanation

El auto medieval se vincula a episodios bíblicos y al calendario litúrgico, mientras el auto barroco, sobre todo el de Calderón, elabora una construcción alegórica autónoma sobre la Eucaristía. Ambos comparten el tema religioso, pero difieren en su arquitectura conceptual.

Question 48Medieval and Renaissance dramatic forms

En el teatro prelopesco, la 'comedia a noticia' de Torres Naharro se distingue de la 'comedia a fantasía' porque:

  1. Carece de división en actos
  2. Emplea exclusivamente personajes mitológicos
  3. Renuncia al verso en favor de la prosa
  4. Toma como base sucesos o personajes reales y reconocibles por el público Correct answer.

Explanation

La comedia a noticia se funda en hechos reales o verosímiles tomados de la actualidad, mientras la a fantasía procede de invención libre. La distinción refleja el interés renacentista por el estatuto de lo verosímil en la ficción dramática.

Question 49Medieval and Renaissance dramatic forms

¿Qué rasgo del teatro de Gil Vicente lo aproxima a la técnica medieval de la simultaneidad escénica?

  1. La supresión de todo elemento alegórico
  2. El uso de un único decorado realista y cerrado
  3. La presentación de varios lugares dramáticos en un mismo espacio sin cambio de decorado Correct answer.
  4. La división estricta en cinco actos con unidad de lugar

Explanation

Gil Vicente dispone con frecuencia varios lugares dramáticos en un mismo espacio escénico, sin necesidad de cambiar el decorado entre ellos. Esta práctica enlaza su teatro con la simultaneidad de las mansiones medievales.

Question 50Medieval and Renaissance dramatic forms

El 'entremés' en el siglo XVI, antes de su desarrollo barroco, designa principalmente:

  1. Una danza cortesana de salón
  2. Una pieza cómica breve que se intercala entre los actos de una obra mayor Correct answer.
  3. Un tratado teórico sobre la preceptiva dramática
  4. Un canto litúrgico de la misa

Explanation

El entremés es una pieza breve y cómica que se representaba entre los actos o jornadas de una comedia, y que en el siglo XVI aún no había alcanzado la autonomía del entremés barroco. Su función era distender al público entre las partes de la obra principal.