QUESTION: 29

Read the following passages and answer the question.

Passage 1. Because it is filled with contradictions, performance is also filled with risk. This is the domain of stage fright. The actor is aware that appearing in front of an audience is a scary proposition. Maintaining the reality of the character is, in itself, a fragile affair; it demands of the actor a series of complex transformations. The actor has the unique problem of hiding and showing at the same time. The actor’s conscious fear is not about making a mistake, but about allowing the audience to see something that it is not supposed to see: namely, the performer’s fear, or stage fright.
Passage 2. The term “stage fright” has largely dropped out of use, because we know now that dwelling on something this malevolent gives it power. If I tell you not to be afraid, you may dwell on your fear. If I say, do not think of fast-food burgers under any circumstances, a line of them will parade through your mind. The key to most fears is substitution. On the simplest level, you replace the ogre with something less menacing to fill your consciousness. If you will imagine yourself to be a host rather than an actor, and think more about the comfort of your listeners than their verdicts, everything will fall into place.

What is the best way to describe the purposes of the two passages?

Passage 1 analyzes a phenomenon; Passage 2 suggests a solution to a problem.
Passage 1 traces the consequences of an incident; Passage 2 narrates a process.
Passage 1 interprets a series of examples; Passage 2 gives a typical case.
Both passages present well-known examples to challenge a misconception.
Both passages explain a pattern by questioning previous theories.

Answer(s): A

Explanation:

Passage 1 discusses stage fright by focusing on the vulnerability of the actor, explaining why “appearing in front of an audience is a scary proposition”. So Passage 1 can be said to analyze a phenomenon. Passage 2 similarly addresses the experience of stage fright, but discusses ways of coping with it. So Passage 2 can be said to suggest a solution to a problem.

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QUESTION: 30

Read the following passages and answer the question.

Passage 1. Because it is filled with contradictions, performance is also filled with risk. This is the domain of stage fright. The actor is aware that appearing in front of an audience is a scary proposition. Maintaining the reality of the character is, in itself, a fragile affair; it demands of the actor a series of complex transformations. The actor has the unique problem of hiding and showing at the same time. The actor’s conscious fear is not about making a mistake, but about allowing the audience to see something that it is not supposed to see: namely, the performer’s fear, or stage fright.
Passage 2. The term “stage fright” has largely dropped out of use, because we know now that dwelling on something this malevolent gives it power. If I tell you not to be afraid, you may dwell on your fear. If I say, do not think of fast-food burgers under any circumstances, a line of them will parade through your mind. The key to most fears is substitution. On the simplest level, you replace the ogre with something less menacing to fill your consciousness. If you will imagine yourself to be a host rather than an actor, and think more about the comfort of your listeners than their verdicts, everything will fall into place.

In the context of Passage 1, the phrase "Maintaining the reality of the character" most directly refers to:

believing oneself to be the character
playing the character in a way that resembles real life
presenting to the audience only behavior relevant to the character
showing the audience how the character sees a situation
keeping the character from becoming purely imaginative

Answer(s): C

Explanation:

Passage 1 suggests that “maintaining the reality of the character” involves the “unique problem of hiding and showing at the same time”. The text further suggests that the actor must not allow “the audience to see something it is not supposed to see: namely, the performer's fear, or stage fright”. This suggests that the actor must hide things that do not relate to the character and, by extension, show the audience only behavior relevant to the character.

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QUESTION: 31

Read the following passages and answer the question.

Passage 1. Because it is filled with contradictions, performance is also filled with risk. This is the domain of stage fright. The actor is aware that appearing in front of an audience is a scary proposition. Maintaining the reality of the character is, in itself, a fragile affair; it demands of the actor a series of complex transformations. The actor has the unique problem of hiding and showing at the same time. The actor’s conscious fear is not about making a mistake, but about allowing the audience to see something that it is not supposed to see: namely, the performer’s fear, or stage fright.
Passage 2. The term “stage fright” has largely dropped out of use, because we know now that dwelling on something this malevolent gives it power. If I tell you not to be afraid, you may dwell on your fear. If I say, do not think of fast-food burgers under any circumstances, a line of them will parade through your mind. The key to most fears is substitution. On the simplest level, you replace the ogre with something less menacing to fill your consciousness. If you will imagine yourself to be a host rather than an actor, and think more about the comfort of your listeners than their verdicts, everything will fall into place.

How do the passages view stage fright in relation to human behavior in general?

Passage 1 attributes stage fright to an individual's personal problems, whereas Passage 2 believes stage fright is caused by social problems.
Passage 1 sees stage fright as normal and healthy, while Passage 2 sees stage fright as an extreme reaction.
Passage 1 emphasizes that situations unique to the theater cause stage fright, whereas Passage 2 views stage fright as similar in one way to most others
Both passages view stage fright as a phenomenon that people experience in everyday life.
Both passages view stage fright as part of a phase actors go through in their lives.

Answer(s): C

Explanation:

Passage 1 specifically suggests that “performance” is the “domain of stage fright”. Passage 1 emphasizes that situations unique to the theater contribute to stage fright. Passage 2 states that “the key to most fears is substitution”, and shows how actors can use substitution to overcome stage fright. Passage 2 thus sees stage fright as “similar in one way to most other fears.”

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QUESTION: 32

Read the following passages and answer the question.

Passage 1. Because it is filled with contradictions, performance is also filled with risk. This is the domain of stage fright. The actor is aware that appearing in front of an audience is a scary proposition. Maintaining the reality of the character is, in itself, a fragile affair; it demands of the actor a series of complex transformations. The actor has the unique problem of hiding and showing at the same time. The actor’s conscious fear is not about making a mistake, but about allowing the audience to see something that it is not supposed to see: namely, the performer’s fear, or stage fright.
Passage 2. The term “stage fright” has largely dropped out of use, because we know now that dwelling on something this malevolent gives it power. If I tell you not to be afraid, you may dwell on your fear. If I say, do not think of fast-food burgers under any circumstances, a line of them will parade through your mind. The key to most fears is substitution. On the simplest level, you replace the ogre with something less menacing to fill your consciousness. If you will imagine yourself to be a host rather than an actor, and think more about the comfort of your listeners than their verdicts, everything will fall into place.

Which of the following describes an actor coping with stage fright by following the advice of the author of Passage 2?

A performer who tries to impress the audience
A performer who thinks of the audience as friends
A performer who follows the same rituals before every performance
A performer who blocks out thoughts of the audience
A performer who tries to keep the audience amused

Answer(s): B

Explanation:

The author gives the following advice to actors: “If you will … think more about the comfort of your listeners than their verdicts, everything will fall into place”. A performer who thinks of the audience as friends would be following this advice.

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Free PRAXIS READING SECTION Exam Braindumps (page: 8)

QUESTION: 29

Explanation:

QUESTION: 30

Explanation:

QUESTION: 31

Explanation:

QUESTION: 32

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