The atmosphere at the event was subdued. The rain and impending thunderstorms had forced the crowd indoors, and both the forecast and audience looked downcast. There had been no indication from the performers if the show would be performed on the stage inside the venue, but since the concert had been intended to be performed outside on a stage that was constructed in a grassy pavilion, it would take a Herculean effort to move the event inside. After two hours of no information, a representative from the venue made his way to the stage: the concert would be moved indoors, once some of the sound equipment could be transported from the outdoor stage, and a smaller, more intimate concert would be conducted. Although the audience would not get the full experience of the outdoor production, they would have entertainment after all.10Which two words with similar meanings does the author use to describe the event taking place in the passage? A. atmosphere and performers B. stage and equipment C. concert and experience D. venue and entertainment

Last weekend I went to see a play at Ryan Concert Hall, and it was not a good experience. It was difficult to see the stage very well from my seat. At a play, it is important to be able to see the stage. The actors’ costumes, their movements, and their props all help tell the story. I could hear the actors’ lines, but I had to crane my neck to see anything.It is clear Ryan Concert Hall was designed for acoustics, not for viewing. In the past, I have been to lovely music concerts at Ryan Concert Hall. Often at music concerts, the musicians are in the orchestra pit, a lowered area directly in front of the stage. You may not see the musicians at all while you listen to the music. The design of this concert hall allows the audience to hear very well from every seat in the house. But this design does not make the concert hall a good place to see a play.The next time there is a play at Ryan Concert Hall, I think I will skip it and go to a movie instead. At least at the movie theater, I know I will be able to see the screen.No sources were consulted in the composition of this passage.SubmitChallenge QuestionWhat's thisIn the final paragraph, the author says, “The next time there is a play at Ryan Concert Hall, I think I will skip it and go to a movie instead.” The author says this because he or shehighlight textAdoes not like going to plays anymoreBthinks movies are more interestingCwants to be able to see what is playingDdoes not plan to go to Ryan Concert Hall again

Your company has been contracted to organise a K-pop concert at Sydney Olympic Park in September. However, the month of September comes with a lot of rain. Your role as the consultant is to evaluate the risk involved in holding the concert. After consulting with the bureau of meteorology that ranks the weather as 'terrible', 'good', or 'great', you have some estimates of attendance (in thousands). Your estimates show that there is a 20% chance of 'terrible' weather, in which case only 50 (thousand) people will attend the concert. There is 60% chance of 'good' weather, which in which case 80 (thousand) people will attend the concert, and if the weather is great, 100 (thousand) people will attend the concert. Suppose that tickets sell for $5 each and that the total cost for organizing the concert is a fixed $10,000. If profit is defined as the difference between total sales revenue and total cost, the standard deviation of the profit is _________.

Your company has been contracted to organise a K-pop concert at Sydney Olympic Park in September. However, the month of September comes with a lot of rain. Your role as the consultant is to evaluate the risk involved in holding the concert. After consulting with the bureau of meteorology that ranks the weather as 'terrible', 'good', or 'great', you have some estimates of attendance (in thousands). Your estimates show that there is a 20% chance of 'terrible' weather, in which case only 50 (thousand) people will attend the concert. There is 60% chance of 'good' weather, which in which case 80 (thousand) people will attend the concert, and if the weather is great, 100 (thousand) people will attend the concert. Suppose that tickets sell for $5 each and that the total cost for organizing the concert is a fixed $10,000.If profit is defined as the difference between total sales revenue and total cost,  the standard deviation of the profit is _________.

Throughout the twentieth century, the performer-spectator dynamic has been challenged both in artistic practice and from a theoretical perspective.  Contextual Futurists, nonsensical Dadaists, and the surreal avant-garde theatrical experiments upended the conventional notion of passive spectatorship, paving the way for performers to disrupt the invisible wall between the artist and audience altogether.  Most scholarly attention, however, has traditionally been directed toward one-way theatrical practices by which performers engage, transform, and heighten the bodily state of the audience through a framework of communal "felt-experience," and not vice versa.The actors on stage are ostensibly the central object of attention, yet their communication with those in attendance is not solely a one-way discourse.  After the curtain falls at the end of a performance, it is common to hear professional performers commentate on audience reaction: sometimes the spectators were "attuned"; at other times they seemed "aloof."  Occasionally, performers feel as if they "captured" the audience; at other times, they perceive that they "lost touch" with the viewers entirely.  One could say that this jargon is merely an oversimplified and closed communication that reduces the true complexity and aesthetic dimensions of the theater experience.Nevertheless, performers are ultimately the vessels responsible for detecting and absorbing the moods, attitudes, and emotions of individuals, and these aspects are vital to the apparent success or failure of the performative process.  One day, actors might find the audience energetic, welcoming, and appreciative; the next day, they may find a stiff, critical, and disconnected crowd, even when performing in the same production with unchanged levels of enthusiasm.  In some instances, a single audience may be unmoved, regardless of how well a show is performed.  In concert with this insight, the language used by artists from across the globe to portray such audience encounters is notably similar.  Their predilection for tactile idiomatic expressions when describing the performer-audience connection is perfectly captured in these remarks from a well-known stage actor:<"The level of attention the audience gives to what is happening on stage provides a certain quality of stillness that makes it possible for a performer to know whether the audience is attuned or not.  However, for the audience to be 'with' the performer, it must embrace a state of tension and immerse itself in the profundity of the performance…it's a very 'tangible' moment—it's all I can find as a word."Because the audience is the proclaimed foundation of a theatrical event, a staged play aims to affect the audience, usually by "capturing" the viewers in some poignant manner.  According to this paradigm, there can be no performance without an audience.  Despite this, the presence of spectators does not guarantee that a meaningful emotional, or affective, exchange will transpire.  Such collective encounters in a shared space and time present only the possibility—for connection or disconnection; and, accordingly, an audience member must be physically present and willing to be affectively influenced.The audience serves an integral function in the performance: it activates, intensifies, and amplifies the circulation of emotional affect in a communal social space.  Individually and collectively, each spectator is able to participate in the intrinsically variable theatrical plot.  Affect is thereby experienced simultaneously through action, thought, and perception by both the artist and the audience.  This mutual "transmission of affect" induces a corporeal sentiment that ultimately resonates as a palpably emotional atmosphere.  Entertainers can only know if the audience is "present" to the degree that they also embrace the mutual tension of the experience.  In this way, the performer dutifully influences the audience, and the audience, in essence, "re-affects" the stage.Passage Title: Re-affecting the StageAdapted from Pais, A, Affective Resonance as the Function of the Audience. Published 2016. Question 45Suppose that a new actor is scheduled to appear in the musical "Oklahoma."  Based on the passage, the author would most likely argue it is important for the actor to:A.discuss audience engagement with fellow actors after the first performance.B.comprehend theater and the role of the audience from a historical perspective.C.perceive the heightened feelings of the audience during a powerful scene.D.become accustomed to a derisive audience after making a blunder on stage.

Throughout the twentieth century, the performer-spectator dynamic has been challenged both in artistic practice and from a theoretical perspective.  Contextual Futurists, nonsensical Dadaists, and the surreal avant-garde theatrical experiments upended the conventional notion of passive spectatorship, paving the way for performers to disrupt the invisible wall between the artist and audience altogether.  Most scholarly attention, however, has traditionally been directed toward one-way theatrical practices by which performers engage, transform, and heighten the bodily state of the audience through a framework of communal "felt-experience," and not vice versa.The actors on stage are ostensibly the central object of attention, yet their communication with those in attendance is not solely a one-way discourse.  After the curtain falls at the end of a performance, it is common to hear professional performers commentate on audience reaction: sometimes the spectators were "attuned"; at other times they seemed "aloof."  Occasionally, performers feel as if they "captured" the audience; at other times, they perceive that they "lost touch" with the viewers entirely.  One could say that this jargon is merely an oversimplified and closed communication that reduces the true complexity and aesthetic dimensions of the theater experience.Nevertheless, performers are ultimately the vessels responsible for detecting and absorbing the moods, attitudes, and emotions of individuals, and these aspects are vital to the apparent success or failure of the performative process.  One day, actors might find the audience energetic, welcoming, and appreciative; the next day, they may find a stiff, critical, and disconnected crowd, even when performing in the same production with unchanged levels of enthusiasm.  In some instances, a single audience may be unmoved, regardless of how well a show is performed.  In concert with this insight, the language used by artists from across the globe to portray such audience encounters is notably similar.  Their predilection for tactile idiomatic expressions when describing the performer-audience connection is perfectly captured in these remarks from a well-known stage actor:<"The level of attention the audience gives to what is happening on stage provides a certain quality of stillness that makes it possible for a performer to know whether the audience is attuned or not.  However, for the audience to be 'with' the performer, it must embrace a state of tension and immerse itself in the profundity of the performance…it's a very 'tangible' moment—it's all I can find as a word."Because the audience is the proclaimed foundation of a theatrical event, a staged play aims to affect the audience, usually by "capturing" the viewers in some poignant manner.  According to this paradigm, there can be no performance without an audience.  Despite this, the presence of spectators does not guarantee that a meaningful emotional, or affective, exchange will transpire.  Such collective encounters in a shared space and time present only the possibility—for connection or disconnection; and, accordingly, an audience member must be physically present and willing to be affectively influenced.The audience serves an integral function in the performance: it activates, intensifies, and amplifies the circulation of emotional affect in a communal social space.  Individually and collectively, each spectator is able to participate in the intrinsically variable theatrical plot.  Affect is thereby experienced simultaneously through action, thought, and perception by both the artist and the audience.  This mutual "transmission of affect" induces a corporeal sentiment that ultimately resonates as a palpably emotional atmosphere.  Entertainers can only know if the audience is "present" to the degree that they also embrace the mutual tension of the experience.  In this way, the performer dutifully influences the audience, and the audience, in essence, "re-affects" the stage.Passage Title: Re-affecting the StageAdapted from Pais, A, Affective Resonance as the Function of the Audience. Published 2016. Question 43The author's attitude toward the comments of the "well-known stage actor" (Paragraph 3) can be best described as:A.affectionate.B.impartial.C.assenting.D.adverse.