Question Details

Match the List-I with List-II.

LIST-I
(Theatre)
LIST-II
(Leading figure/Founder)
A. Abbey Theatre I. Martin Esslin
B. Theatre of the Absurd
II. W.B. Yeats
C. Hope Theatre III. Jean Jacques Barnard
D. Theatre of Silence IV. Philip Henslowe

Choose the correct answer from the options given below.

Options

A

A-II, B-I, C-IV, D-III

B

A-II, B-III, C-I, D-IV

C

A-IV, B-I, C-II, D-III

D

A-III, B-II, C-IV, D-I

Show Answer

Correct Answer :

Option A

A-II, B-I, C-IV, D-III

Solution :

The correct answer is A-II, B-I, C-IV, D-III.

Let us understand the connection between each theatre/movement listed in List-I and its leading figure/founder listed in List-II step-by-step:

A. Abbey Theatre matches with II. W.B. Yeats
The Abbey Theatre, also known as the National Theatre of Ireland, was founded in Dublin in 1904. The famous Irish poet and playwright William Butler Yeats (W.B. Yeats) was one of its key founders and leading figures, alongside Lady Gregory and Edward Martyn, playing a crucial role in the Irish Literary Revival.

B. Theatre of the Absurd matches with I. Martin Esslin
The term "Theatre of the Absurd" was coined by the Hungarian-born English literary critic and scholar Martin Esslin in his influential 1961 essay and subsequent book of the same name. Esslin used it to categorize and describe works by playwrights like Samuel Beckett, Eugène Ionesco, and Jean Genet, who expressed the belief that human existence has no inherent meaning or purpose.

C. Hope Theatre matches with IV. Philip Henslowe
The Hope Theatre was a historic theatre built in London in 1613-1614. It was commissioned and constructed under the direction of the prominent Elizabethan theatrical entrepreneur and manager Philip Henslowe, along with his partner Jacob Meade.

D. Theatre of Silence matches with III. Jean Jacques Bernard
The "Theatre of Silence" (also known as L'école du silence) is a dramatic theory and theatrical movement associated with the French playwright Jean Jacques Bernard in the 1920s. This style emphasizes that the most profound emotions and dramatic tensions are often conveyed through what is left unsaid, using pauses, subtext, and silence rather than spoken dialogue.

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