Theatre Systems Test
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Department of Theatre Arts • Technical Stagecraft Division
Theatre Systems Evaluation Test
Form A • 100 PTS
CODE: STAGE-SYS-2026
Name: _________________________________
Date: _____________________
Period: __________
Cue to Cast & Crew: Read each scenario carefully. Darken or circle the letter corresponding to the single best theatrical response.
Act I • Architecture & Signals
1
What is a 'blackout' in theatre terminology?
A When the curtain closes between acts
D A dim lighting state used for dramatic effect
B When the sound system malfunctions during a performance
E When an actor forgets their lines and stops speaking
C When the theatre is sold out with no empty seats
F A sudden extinguishing of all stage lights
2
What is the 'proscenium' in a theatre?
A The front row of audience seats
D The wooden floor of the stage
B The frame or arch that separates the stage from the audience
E The area behind the stage where actors wait
C The main curtain that opens and closes
F The lights that hang above the stage
3
What is a 'cue' in theatre terminology?
A A piece of clothing worn by an actor
D A line of dialogue that an actor must memorize
B A signal for a technical crew member or actor to perform an action
E A stick used in billiards or pool games on stage
C The written text of the entire play
F A subdivision of an act in a play
4
Which technical theatre position is responsible for managing all props used in a production?
A Sound technician
D Props master
B Assistant stage manager
E Set designer
C Costume designer
F Lighting technician
5
Which term describes the imaginary line that divides the stage into left and right halves?
A Proscenium arch
D Stage apron
B Main curtain
E Backdrop line
C Center line
F Stage wings
Theatre Systems Evaluation • Production Standards Page 1 of 7 Stagecraft Assessment Series
ACT II |
Stage Geography & Spatial Perspective
Questions 6 – 10
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Actor's Perspective Principle: All traditional stage directions (Left, Right, Up, Down) are determined strictly from the viewpoint of the performer standing on stage facing the audience.
BACK OF STAGE = UPSTAGE
AUDIENCE = DOWNSTAGE
6
An actor is told to move 'upstage.' Which direction should they move?
A Toward the audience, toward the front of the stage
D To the right side of the stage as viewed from above
B Vertically upward on a ladder or elevated platform
E Away from the audience, toward the back of the stage
C To where the audience can see them best
F With more energy and enthusiasm in their performance
7
From the actor's perspective on stage, which direction is stage left?
A The audience's left side when looking at the stage
D Toward the back wall of the theatre
B Wherever the stage manager is standing
E The actor's right side when facing the audience
C The left side of the stage from any vantage point
F The actor's left side when facing the audience
8
What is the 'house' in theatre terminology?
A The stage where actors perform
D The entrance area of the theatre
B The entire theatre building
E The area behind the stage
C The audience seating area of the theatre
F The control booth for lights and sound
9
What does 'center stage' refer to?
A The middle area of the stage, equidistant from all sides
D The back wall of the stage
B The front edge of the stage closest to the audience
E The right side of the stage from the actor's view
C Wherever the most important action is happening
F Where the stage manager stands during a performance
10
What is the primary role of the costume designer in a theatrical production?
A To create and design costumes that reflect the characters and story
D To coordinate all technical aspects of the production
B To direct actors in how to move and speak
E To only sew and repair costumes during the show
C To wear the costumes and perform on stage
F To manage all props used by the actors
Theatre Systems Evaluation • Production Standards Page 2 of 7 Stagecraft Assessment Series
ACT III |
The Wings, Presence & Management Foundations
Questions 11 – 15
Stagecraft Protocol: Distinguish between architecture (spaces), physical execution (blocking), and leadership roles.
6 Options per Item
11
What are 'stage wings'?
A The areas to the left and right of the stage, hidden from the audience
D The storage room where props and sets are kept
B The system of ropes and pulleys above the stage
E The upper level or balcony of the theatre
C The area directly behind the stage backdrop
F The side sections of the audience seating area
12
What does 'stage presence' refer to?
A Whether an actor is physically on stage at that moment
D How tall an actor is compared to others on stage
B How quickly an actor moves across the stage
E The quality and style of an actor's costume
C An actor's ability to command attention and engage the audience
F How loudly an actor speaks their lines
13
What is the primary responsibility of a stage manager?
A Making creative decisions about how scenes are performed
D Creating the artistic vision for the stage scenery
B Deciding which actors are cast in which roles
E Coordinating all technical and operational aspects of a production
C Designing and creating all costumes for the actors
F Operating the lights and sound equipment during performances
14
What does 'in the round' refer to in theatre staging?
A A stage that extends into the audience area
D A traditional stage with the audience only in front
B When a single actor is lit by a round spotlight
E When actors move in circular patterns on stage
C When actors block or prevent audience view
F A stage configuration where the audience surrounds the acting area on all sides
15
What does it mean when a director tells an actor to 'cross' to a specific location?
A Show an angry or upset emotion
D Make an X shape with your legs or arms
B Cross your arms in front of your chest
E Move to that location on the stage
C Turn and face the opposite direction
F Interact or argue with another actor
Theatre Systems Evaluation • Production Standards Page 3 of 7 Stagecraft Assessment Series
ACT IV |
Technical Positions & Stage Vectors
Questions 16 – 20
Crew Integration: Identify the specific technicians responsible for each sensory discipline in production.
Technical Theatre Operations
16
Which technical theatre position operates the sound system during a performance?
A House manager
D Lead actor
B Sound technician
E Director
C Composer
F Lighting technician
17
Which technical position is responsible for creating and managing the set design?
A Set carpenter
D Set designer
B Lighting designer
E Stage manager
C Props master
F Director
18
What does the term 'downstage' refer to in theatre?
A The lowest level of a multi-level stage
D The area of the stage closest to the audience
B The basement or lower floor of the theatre building
E The area behind the main curtain or backdrop
C A command telling actors to sit or kneel down
F The area of the stage farthest from the audience
19
Which technical theatre position is primarily responsible for managing lighting cues and effects?
A Sound technician
D Lighting technician
B House manager
E Props master
C Costume designer
F Set designer
20
What does 'stage right' mean from the actor's perspective?
A The actor's right side when facing the audience
D Toward the audience from center stage
B The audience's right side when looking at the stage
E The correct or proper location for an actor to stand
C The actor's left side when facing the audience
F Where the stage right technician is positioned
Theatre Systems Evaluation • Production Standards Page 4 of 7 Stagecraft Assessment Series
ACT V |
Stage Management Protocols & Execution
Questions 21 – 25
Note on Advanced Concepts: Questions 21–25 feature 5 focused response options (A–E). Read each distinction carefully.
Prompt Book & Tech Week
21
How do rehearsals and tech week differ in terms of their goals and focus?
A Rehearsals focus on performance and character development, while tech week integrates technical elements into the full production
B They have identical goals and focus on the same elements from start to finish
C Tech week happens first to set up equipment, then rehearsals teach actors their parts
D Rehearsals are a waste of time because actors should perform perfectly on opening night
E Rehearsals are just for fun, while tech week is when the real work actually happens
22
What is a critical responsibility of the stage manager during performances?
A To design the lighting plot and decide which colors and angles work best
B To focus only on sound cues and ignore what is happening with lighting
C To stop the show and give notes to actors about their performance quality
D To call all cues to technical operators and ensure the show runs smoothly according to the script
E To perform in scenes alongside the actors and deliver lines to the audience
23
What should a stage manager include in their prompt script or cue book?
A Only the lighting cues and nothing else that happens during the show
B Only sketches and drawings of the set design and costume concepts
C Only the dialogue that actors speak, with no technical information included
D Every creative decision ever made, including rejected ideas and early drafts
E All blocking, technical cues, actor entrances and exits, and notes about timing and special effects
24
What is the main responsibility of the stage manager during production meetings?
A To stand in the wings and cue actors when it is time to go on stage
B To document decisions, track timelines, and communicate information between departments
C To design and construct all costumes and accessories for the actors
D To operate all lighting and sound cues during the performance
E To make final decisions about the artistic direction and design choices
25
During the closing phase of a production, what typically happens?
A The creative team experiments with new ideas and makes major changes to the script
B All scenery, props, and costumes are removed and the theatre is returned to its original state
C The run of performances ends, and final notes and celebrations mark the conclusion of the show
D All technical elements are added to the show for the first time during rehearsals
E The show opens to the public for the first time with a special premiere event
Theatre Systems Evaluation • Production Standards Page 5 of 7 Stagecraft Assessment Series
ACT VI |
The Production Lifecycle, Strike & Closure
Questions 26 – 29
Final Curtain: From initial script exploration to the final restoration of the stage space.
4 Questions + Sign-off
26
Why are production meetings important in the play making process?
A They are where actors receive notes about their performances and learn new blocking
B They are where the full cast and crew run through the show from start to finish
C They are optional gatherings that do not significantly impact the production schedule
D They are the only time when any actual work on the production happens
E They allow all departments to communicate, share updates, solve problems, and stay coordinated throughout the production
27
During rehearsals, what is the primary focus before tech week begins?
A Adding all lighting cues, sound effects, and special effects to every scene
B Performing the show in front of an audience with full costumes and makeup
C Building and painting the entire set so it is ready for the first rehearsal
D Developing character performances, perfecting blocking, and building ensemble cohesion
E Removing all props, scenery, and costumes from the theatre
28
During the workshop phase of play production, what is the primary goal of the director and creative team?
A To run the complete show from beginning to end with full technical elements
B To explore the script, develop the artistic vision, and experiment with ideas before committing to final decisions
C To dismantle the set and return all borrowed equipment to storage
D To test all lighting and sound equipment and make sure everything is working properly
E To teach actors how to memorize their lines and practice basic blocking
29
What is the primary purpose of strike in theatre production?
A To build and install all scenery and lighting equipment for the first performance
B To integrate all technical cues into the performance for the first time
C To remove all sets, props, lighting equipment, and costumes and restore the theatre to its original condition
D To run through the show without stopping to practice transitions and timing
E To perform the show one final time for cast and crew members
📋 Production Verification & Call Sheet Sign-Off
ASSESSMENT COMPLETED
"I affirm on my stage honor that all answers recorded on this evaluation reflect my independent knowledge of theatrical systems and stage operations."
Performer/Tech Signature: ____________________________________
Raw Points: ____ / 29
Final Score: ______ %
GRADE: [ A | B | C | D | F ]
Theatre Systems Evaluation • Production Standards Page 6 of 7 Stagecraft Assessment Series
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BACKSTAGE PASS • CREW PROFILE
Technical Theatre Reflection & Passions
Student Voice & Vision
SEASON 2026–2027
The Art of Backstage: Beyond the mechanics, theatrical magic is forged by curious, passionate technicians working as one.
Crew Voice
🛠️ Part I: Technical Department Rankings
Rank your top 3 areas of interest (1 = Most Excited, 2 = Second, 3 = Third)
Lighting & Electrics Board programming, cues, focus
Audio & Sound FX Live mixing, mic ops, soundscapes
Set Build & Scenic Art Carpentry, painting, platforms
Props Master & Crafting Fabrication, hand props, tables
Stage Management & Deck Calling cues, shift crew, prompt book
Costume, Hair & Makeup Wardrobe, quick changes, styling
A
The Spark Moment: Describe a technical element in a show, concert, or film (e.g., a dramatic lighting blackout, revolving stage, sudden sound effect, or quick costume transformation) that gave you chills or pulled you into the story. What made it so memorable?
B
Craft & Curiosity: Which specific backstage role, tool, or console are you most eager to get your hands on this term (e.g., lighting console, wireless mics, table saw, scenic paint gun, calling headset cues)? What excites you about mastering it?
C
Ensemble Mindset: Great stagecraft depends on crew trust and reliability. What personal strength (e.g., staying cool when a cue goes wrong, attention to safety, quick problem-solving, dependability) will you contribute to our backstage team?
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Dream Show Technical Challenge
Creative Sandbox
If you could design the technical world for any play, musical, or concert, which show would you choose and what is one bold visual or audio idea you would bring to the stage?
Theatre Systems Evaluation • Production Standards Page 7 of 7 Stagecraft Assessment Series
