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Key Facts: Canary Islands PAU Performing Arts II Exam

90 Minutes

Exam time duration

COPAU / ULPGC & ULL

EUR 76.12

Base registration fee

Gobierno de Canarias / COPAU

0–10 Scale

Grading scale for Bachillerato and PAU exams

Spanish Ministry of Education

6 Core Blocks

History, Staging, Performance, Dance, Composition/Semiotics, Analysis/Production

LOMLOE 2º Bachillerato Syllabus

100 Questions

Practice bank size in OpenExamPrep

OpenExamPrep

Master the Canary Islands PAU Performing Arts II exam with 100 practice questions covering theatrical history, staging, acting techniques, dance history, dramatic composition, and performance analysis.

Sample Canary Islands PAU Performing Arts II Practice Questions

Try these sample questions to review concepts for the Canary Islands PAU Performing Arts II exam. Each question includes a detailed explanation. Start the interactive quiz above for the full 100+ question experience with AI tutoring.

1Which ancient Greek dramatist is credited with introducing the second actor (deuteragonist), fundamentally shifting theatrical performance from choral narrative to true dramatic interaction?
A.Euripides
B.Aristophanes
C.Sophocles
D.Aeschylus
Explanation: Aeschylus introduced the second actor (deuteragonist) to Ancient Greek drama, reducing the size and role of the chorus and allowing direct interpersonal dialogue on stage for the first time. This innovation transformed Greek performance from choral lyric poetry into true dramatic action.
2In Rudolf von Laban's movement analysis, what term designates the spherical personal space immediately surrounding a performer's body that can be reached without shifting the supporting foot?
A.Dynamosphere
B.Kinesphere
C.Proxemics
D.Proscenium zone
Explanation: The kinesphere is the 3D space surrounding a dancer or actor reachable by stationary limb extensions. Laban used this concept to map spatial directions, levels, and movement pathways relative to the performer's body center.
3Which stock character of the Italian Commedia dell'Arte is a cunning, agile zanni servant from Bergamo who wears a costume adorned with multi-colored diamond patches?
A.Pantalone
B.Harlequin (Arlecchino)
C.Il Dottore
D.Brighella
Explanation: Arlecchino (Harlequin) is the iconic zanni character known for his diamond-patterned suit, wooden bat (batte), agility, and humorous acrobatics. He frequently drives the comedic plot through mistaken intentions and physical lazzi.
4What type of stage configuration features an audience seated on three sides of the central acting area, providing an intimate atmosphere while retaining a backstage wall for entrances?
A.Thrust stage
B.Proscenium arch stage
C.Arena stage (Theatre-in-the-round)
D.Traverse stage
Explanation: A thrust stage projects out into the auditorium so that spectators surround the performance area on three sides. It combines the sightlines and backstage masking of a proscenium with the intimacy of multi-sided viewing.
5In Tadeusz Kowzan's semiotic classification of theatrical signs, which system includes actor facial expressions and eye movements used to convey emotion?
A.Costume (Vestuario)
B.Proxemics (Proxémica)
C.Gesture (Gesto)
D.Mimicry (Mimica)
Explanation: In Kowzan's 13 theatrical sign systems, mimicry (mímica) covers facial expression and eye movements, whereas gesture (gesto) covers limb and torso movement, and movement (desplazamiento) covers spatial motion across the stage.
6Which respiratory technique is universally recommended for professional vocal projection and sustained speech without strain in theatrical performance?
A.Costodiaphragmatic (Abdominal) breathing
B.Clavicular (Upper chest) breathing
C.Thoracic-only lateral breathing
D.Shallow bronchial breathing
Explanation: Costodiaphragmatic breathing utilizes the diaphragm and lower ribcage/abdominal muscles to control air pressure efficiently. It provides a steady airflow column and prevents strain on vocal folds and throat muscles during acting.
7Which 20th-century theatre practitioner introduced the concept of the 'Alienation Effect' (Verfremdungseffekt) to prevent emotional identification and encourage audience critical reflection?
A.Antonine Artaud
B.Bertolt Brecht
C.Jerzy Grotowski
D.Konstantin Stanislavski
Explanation: Bertolt Brecht developed Epic Theatre and the Verfremdungseffekt (Alienation / Distancing Effect) to disrupt theatrical illusion, keeping spectators intellectually engaged so they could critically analyze social and political dynamics.
8In classical dance, which pioneer of American modern dance formulated the foundational technique based on the physiological cycle of 'Contraction and Release'?
A.Isadora Duncan
B.Doris Humphrey
C.Pina Bausch
D.Martha Graham
Explanation: Martha Graham developed a codification of modern dance centered on the pelvic contraction and release, tied directly to breath rhythm, grounding, and intense emotional expression.
9What is the primary technical function of a Fresnel spotlight in theatrical stage lighting design?
A.Tracking fast-moving solo performers manually from an elevated lighting booth
B.Serving as an un-lensed floodlight to illuminate cycloramas evenly with static color
C.Projecting hard-edged sharply focused gobos and complex pattern shadows
D.Providing a soft-edged beam suitable for blending washes across acting zones
Explanation: The Fresnel spotlight features a stepped concentric-ring lens that creates a soft-edged beam with smooth fall-off, ideal for wash lighting and seamless color blending on stage.
10Which Spanish Golden Age (Siglo de Oro) playwright wrote the classic philosophical drama 'Life is a Dream' (La vida es sueño), exploring free will, destiny, and illusion?
A.Tirso de Molina
B.Pedro Calderón de la Barca
C.Lope de Vega
D.Miguel de Cervantes
Explanation: Calderón de la Barca wrote 'La vida es sueño' (1635), featuring Prince Segismundo. The play is a masterpiece of Baroque Spanish theatre examining existential philosophy, fate, honor, and human reason.

About the Canary Islands PAU Performing Arts II Exam

Comprehensive preparation guide and question bank for the PAU Artes Escénicas II (Performing Arts II) exam for 2º Bachillerato in the Canary Islands (ULPGC & ULL 2026). Covers theatrical history, staging and scenography, acting techniques, dance history, dramatic composition, and performance analysis.

Exam sponsor: Canary Islands PAU Organising Commission (COPAU) / ULPGC & ULL. The requirements and fees below concern the certification or admission exam, separate from our free practice resources.

Assessment

Written 90-minute standardized exam. Practice items are an English-language study adaptation of the official Canary Islands PAU paper.

Time Limit

90 minutes (1.5 hours)

Passing Score

Marked on a 0–10 scale. Minimum 4.0 required in Access Phase to combine with Bachillerato GPA (60% Bachillerato + 40% PAU >= 5.0 to pass).

Exam / Certification Fees

EUR 76.12 base registration fee for PAU Access Phase (set by Gobierno de Canarias / COPAU).

Exam sponsor website

Fees, eligibility, and exam policies can change. Confirm them with the exam sponsor before applying or paying.

Our practice resources: topics covered

We aim to reflect publicly available exam outlines and topic information in our study resources. Coverage, format, and difficulty may differ from the actual exam, and we cannot guarantee that every detail is accurate or current. Confirm exam requirements, fees, and policies with the official exam sponsor.

20%

Theatrical History & Evolution

Greco-Roman drama, medieval theatre, Commedia dell'Arte, Golden Age Spanish theatre, Elizabethan drama, Neoclassicism, Realism/Naturalism, 20th-century avant-garde, and postdramatic theatre.

20%

Staging & Scenography

Stage typologies, scenographic styles, stage machinery, lighting design, color temperature, sound design, acoustics, costume design, and stage management.

20%

Performance & Acting Techniques

Acting methodologies (Stanislavski, Meyerhold, Brecht, Grotowski, Boal, Decroux), vocal resonators, diaphragmatic breathing, Laban effort factors, kinesphere, and somatic methods.

15%

Dance & Movement History

Classical ballet history and technique, modern dance pioneers (Graham, Humphrey, Cunningham), Tanztheater (Pina Bausch), post-modern dance, contact improvisation, and Spanish traditional/flamenco dance.

15%

Dramatic Composition & Semiotics

Dramatic structures, Freytag's pyramid, open vs closed forms, Kowzan's 13 theatrical sign systems, theatrical pact, fourth wall breakdown, and dramaturgical analysis.

10%

Performance Analysis & Production

Critical analysis methodology, audience reception theory, stage management (regiduría), intellectual property rights (SGAE), and cultural production in the Canary Islands.

Preparing for the Canary Islands PAU Performing Arts II Exam

What You Need to Know

  • Passing score: Marked on a 0–10 scale. Minimum 4.0 required in Access Phase to combine with Bachillerato GPA (60% Bachillerato + 40% PAU >= 5.0 to pass).
  • Assessment: Written 90-minute standardized exam. Practice items are an English-language study adaptation of the official Canary Islands PAU paper.
  • Time limit: 90 minutes (1.5 hours)
  • Exam / certification fees: EUR 76.12 base registration fee for PAU Access Phase (set by Gobierno de Canarias / COPAU). Official sources

Using Our Practice Resources

  • Work through all 100 available questions
  • Review every answer and explanation
  • Track weak areas and revisit them
  • Use our AI tutor for tough concepts

Canary Islands PAU Performing Arts II: Suggested Study Strategy

1Study major theatrical movements from Classical Greece to Postdramatic Theatre, highlighting key authors, staging developments, and performance styles.
2Master staging geography and technical production terminology, including lighting fixtures (Fresnel, PAR, ERS), color theory, stage machinery, and stage manager (regidor) cues.
3Differentiate core acting techniques including Stanislavski's psychological realism, Meyerhold's Biomechanics, Brecht's Epic Theatre alienation effect, and Grotowski's Poor Theatre.
4Learn Tadeusz Kowzan's 13 theatrical sign systems and practice applying them to evaluate text, actor performance, scenic space, and acoustic design.
5Review dance evolution from classical ballet codification to Martha Graham's contraction/release, Merce Cunningham's chance operations, and Pina Bausch's Tanztheater.

Frequently Asked Questions

Is this practice bank in the same format as the real Canary Islands PAU exam?

No, and it is important to know the difference. The official Canary Islands PAU paper is a 90-minute examination sat in Spanish and built around analysis of dramatic texts and performance material plus extended written responses. Under the 2026 PAU design rules agreed by COPAU and the CRUE, open and semi-constructed responses must account for at least 70% of every paper, so the real exam contains no multiple-choice section. This bank is an English-language multiple-choice study adaptation of the same official 2º Bachillerato syllabus — not an official translation, not a past paper, and not a simulation of the exam format. Use it to drill the underlying knowledge and reasoning quickly, then practise writing extended analyses of dramatic texts and staging in Spanish separately, because that is what the examiners actually mark.

What is the fee for the PAU Performing Arts II exam in the Canary Islands?

The base registration fee is EUR 76.12 for the PAU Access Phase set by the Gobierno de Canarias / COPAU.

What passing score is required on the PAU Performing Arts II paper?

Marked on a 0–10 scale. Minimum 4.0 required in Access Phase to combine with Bachillerato GPA (60% Bachillerato + 40% PAU >= 5.0 to pass).

How long is the PAU Performing Arts II examination?

The examination duration is 90 minutes (1.5 hours).

Which public universities administer the PAU in the Canary Islands?

The exam is co-administered by the Universidad de Las Palmas de Gran Canaria (ULPGC) and the Universidad de La Laguna (ULL) under the coordination of COPAU.