Drama
214 questions
A theatrical work features serious conflict and near-tragic situations, but incorporates lighter comedic moments and ultimately resolves with a happy ending for the main characters. Which genre of drama does this description best define?
Read the excerpt below from Wole Soyinka's prescribed play *The Trials of Brother Jero*:
JERO: "I know they are dissatisfied. They're waiting for the day when they will be fulfilled, when they will be masters of their own destiny. If I give them that fulfillment, they will no longer need me. So I give them hopes, but never fulfillment."
Based on the excerpt above, what does Brother Jero's statement reveal about his leadership strategy and character motivation?
Match each dramatic element or structural term on the left with its correct definition on the right.
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Chronologically sequence the following major theatrical movements based on the historical era in which each emerged, beginning with the earliest movement and ending with the most recent.
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In Efua Sutherland's prescribed African drama *The Marriage of Anansewa*, match each character on the left with their corresponding dramatic role or action in the play.
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Complete the statement below by filling in the correct dramatic genres.
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Read the dramatic excerpt below:
OBI: (Walking alone near the riverbank, speaking aloud to himself)
If I reveal the Chief's secret, the village will turn against me. Yet if I remain silent, innocence will suffer. What path must an honest man take when truth itself becomes a curse?
Which dramatic convention is illustrated in Obi's speech above?
Read the following excerpt from Wole Soyinka's *The Lion and the Jewel*:
LAKUNLE: "A savage custom, barbaric, out-of-date, rejected, denounced, accursed, excommunicated, archaic, degrading, humiliating, unpalatable, objectionable, retrogressive, insult to intelligence..."
SIDI: "Now have you finished?"
LAKUNLE: "Ignorant girl, can you not understand? It is a savage custom, unworthy of a civilized nation."
In the context of the play, what does Lakunle's passionate tirade in this dialogue reveal about his character and attitude?
A dramatic work portrays a high-ranking protagonist whose overwhelming arrogance causes a catastrophic sequence of events. Although lighthearted comedic intermissions are introduced to ease narrative tension, the play maintains its serious emotional gravity and concludes with the protagonist's inevitable demise. Which genre and primary driving force best describe this play?
In Wole Soyinka's prescribed African play *Death and the King's Horseman*, match each character listed on the left with their corresponding dramatic role or action on the right.
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Match each dramatic structural element on the left with its corresponding function in plot progression on the right.
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Read the excerpt below from Ola Rotimi's prescribed African drama, *The Gods Are Not to Blame*:
ODEWALE: "Until I test the wood, I do not buy the trunk. I have set my trap and the bird will soon walk in."
In the context of the play, what dramatic function does Odewale's statement serve when he addresses the chiefs of Kutije regarding the murder of King Adetusa?
Read the dramatic excerpt below:
ADAMA: (Glancing nervously at the locked chest, then turning to the audience)
He believes the deed was forgotten in the ash of the old hearth, but its silence will speak before the moon turns full.
(Aloud, to EMEKA as he enters)
Welcome, brother! We were just speaking of your return.
In the excerpt above, Adama's speech directed to the audience functions structurally as a dramatic convention to
In dramatic analysis, different character types perform specific structural and thematic roles. Match each character classification on the left with its corresponding defining role on the right.
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In Frank Ogodo Ogbeche's prescribed African drama Harvest of Corruption, match each character on the left with their corresponding dramatic role or action on the right.
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Read the extract below from Wole Soyinka's play *The Trials of Brother Jero*:
AMOPE: "I know your type. You set up a beach church and call yourself a prophet, but you refuse to pay for the velvet cloak you wear to deceive your followers!"
Based on the extract above, what key dramatic function does Amope's confrontation of Brother Jero serve in the play?
In Ola Rotimi's prescribed African drama *The Gods Are Not to Blame*, match each character on the left with their corresponding dramatic role or key action on the right.
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Read the following extract from William Shakespeare's prescribed Non-African drama, *The Tempest*, and answer the question that follows:
"Be not afeard; the isle is full of noises,
Sounds and sweet airs, that give delight and hurt not.
Sometimes a thousand twangling instruments
Will hum about mine ears, and sometime voices..."
What does this poetic speech primarily reveal about Caliban's character?
Match each character from George Bernard Shaw's prescribed Non-African drama *Arms and the Man* to their corresponding dramatic role or characterization.
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Read the following excerpt from William Shakespeare's prescribed Non-African drama, *Othello*, and answer the question that follows:
"Her father loved me; oft invited me;
Still question'd me the story of my life
From year to year, the battles, sieges, fortunes,
That I have passed."
In the context of the play, what is the primary significance of this statement made by Othello to the Venetian Senate?