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Exam Review

Key Facts: Madrid PAU Performing Arts II Exam

90 Min

Official duration of the PAU Performing Arts II exam

Comunidad de Madrid PAU Regulations

0–10

Official grading scale for PAU subjects in Madrid

PAU Organising Commission of Madrid / UCM

5 Blocks

Core curricular content areas evaluated in the 2026 syllabus

Comunidad de Madrid 2º Bachillerato LOMLOE Curriculum

100

Original practice questions provided in this OpenExamPrep bank

OpenExamPrep

EUR 93.02

Base fee for compulsory Access Phase in Madrid PAU 2026

Comunidad de Madrid Official Gazette

Madrid PAU Performing Arts II (UCM 2026) tests 2º Bachillerato students on dramatic structure, history of theatre, acting systems (Stanislavski, Meyerhold, Lecoq), stage architecture and lighting design, and analytical tools for live and audiovisual performances.

Sample Madrid PAU Performing Arts II Practice Questions

Try these sample questions to review concepts for the Madrid 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.

1In Aristotelian dramatic theory, what term refers to the artistic imitation of human action and life?
A.Mimesis
B.Catharsis
C.Anagnorisis
D.Hamartia
Explanation: In Aristotle's Poetics, mimesis defined dramatic art as the creative representation or imitation of human actions, emotions, and life choices rather than mere literal copying. Aristotle asserted that human beings possess an innate instinct for imitation through which learning and aesthetic pleasure occur.
2What emotional outcome does Aristotle attribute to classical tragedy, involving the purging of pity and fear in the spectator?
A.Catharsis
B.Peripeteia
C.Hubris
D.Isorhythm
Explanation: Catharsis is the emotional release or cleansing of pity (eleos) and fear (phobos) produced in the audience by witnessing the hero's suffering in tragedy. Through catharsis, the spectator achieves psychological equilibrium and moral renewal.
3Which three unities were canonized by Neoclassical dramatic theorists based on interpretations of Aristotle's Poetics?
A.Unity of Action, Time, and Place
B.Unity of Theme, Dialogue, and Spectacle
C.Unity of Character, Scenography, and Lighting
D.Unity of Verse, Music, and Dance
Explanation: The three Neoclassical unities mandate that a play must feature one single main storyline (Action), take place within a single 24-hour period (Time), and occur in a single physical location or setting (Place).
4What dramatic concept denotes the fatal flaw, error of judgment, or misstep committed by a tragic protagonist?
A.Hamartia
B.Soliloquy
C.Apelación
D.Gestus
Explanation: Hamartia is the internal vulnerability, intellectual error, or moral mistake of a tragic protagonist (such as Oedipus or Macbeth) that initiates their downfall. It ensures that the tragic hero's fate stems from human agency rather than pure malice.
5The moment in a tragic plot when a character moves from ignorance to critical knowledge or self-awareness is called:
A.Anagnorisis
B.Deus ex machina
C.Subtext
D.Proscenium
Explanation: Anagnorisis is the dramatic revelation or discovery wherein the hero recognizes their true identity, the identity of another, or the reality of their tragic predicament, often accompanying the plot's reversal.
6What term describes a sudden, dramatic reversal of fortune or change in circumstances for the protagonist?
A.Peripeteia
B.Denouement
C.Epitasis
D.Prosody
Explanation: Peripeteia occurs when an action produces the exact opposite effect of what was intended, resulting in a sudden shift from prosperity to ruin or vice versa. Aristotle considered the combination of peripeteia and anagnorisis the hallmark of complex plots.
7Overweening pride, insolence, or defiance of moral and divine boundaries by a dramatic character is known as:
A.Hubris
B.Katharsis
C.Dramaturgy
D.Proxemics
Explanation: Hubris is excessive arrogance or self-confidence that leads a character to transgress ethical norms or challenge the authority of gods and fate. It frequently triggers divine retribution (Nemesis).
8In semiotic theatre analysis, Tadeusz Kowzan identified how many distinct theatrical sign systems produced by actor and environment?
A.13
B.5
C.20
D.8
Explanation: Tadeusz Kowzan classified performance signs into 13 distinct categories spanning spoken word, intonation, facial expression, gesture, movement, makeup, hairstyle, costume, prop, decor, lighting, music, and sound effects.
9What key distinction separates 'texto dramático' (dramatic text) from 'texto espectacular' (performance text)?
A.Dramatic text is the written script, while performance text encompasses the total sensory reality of live staging.
B.Dramatic text refers to non-literary improvisations, while performance text is strictly published poetry.
C.Dramatic text includes only stage directions, while performance text contains actor monologues.
D.Dramatic text is intended for screen read-throughs, while performance text is designed for opera only.
Explanation: Dramatic text (texto dramático) consists of written dialogue and stage directions (acotaciones). Performance text (texto espectacular) is the ephemeral, multidimensional assembly of lighting, movement, sound, set, and live acting during actual staging.
10Which dramatic speech convention involves a character speaking their private thoughts aloud while alone on stage?
A.Soliloquy
B.Aside (Aparte)
C.Chorus strophe
D.Stichomythia
Explanation: A soliloquy is a spoken monologue delivered by a character who is alone on stage (or believes themselves to be alone), directly articulating internal dilemmas, plans, or philosophical reflections to the audience.

About the Madrid PAU Performing Arts II Exam

The Madrid PAU Performing Arts II (Artes Escénicas II) examination assesses 2º Bachillerato students on dramatic theory, historical evolution of theatrical performance, acting methodologies, stage design, lighting, sound, and critical analysis of live and digital performances.

Exam sponsor: PAU Organising Commission of the Community of Madrid / Universidad Complutense de Madrid (UCM). The requirements and fees below concern the certification or admission exam, separate from our free practice resources.

Assessment

Written 90-minute standardized exam based on LOMLOE criteria. Local questions are an English-language MCQ study adaptation of the official Madrid PAU paper, providing exhaustive coverage of dramatic theory, theatre history, acting techniques, stagecraft, and performance analysis.

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 93.02 base registration fee for compulsory Access Phase in Community of Madrid (or ~11.63 € per optional subject in voluntary phase).

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.

25%

Dramatic Theory & Performance Concepts

Aristotelian poetics, dramatic structure, character typology, genres, speech modes (monologue, soliloquy, aside), subtext, dramatic irony, and Kowzan's 13 theatrical sign codes.

25%

History of Theatre & Stage Performance

Greek/Roman classical staging, Medieval drama, Commedia dell'arte, Elizabethan theatre, Spanish Golden Age corral de comedias, French classicism, Realism/Naturalism, and 20th-century vanguard (Brecht, Artaud, Beckett, Grotowski, Lorca, Valle-Inclán).

20%

Acting Techniques & Stage Movement

Stanislavski's system (objectives, magic if, affective memory), Meyerhold's biomechanics, Michael Chekhov, Method acting (Strasberg, Adler, Meisner), Lecoq physical theatre, voice projection, and proxemics.

15%

Scenography, Lighting & Stagecraft

Stage architectures (proscenium arch, thrust, arena, black box), set design, lighting design (qualities, instruments, three-point lighting), costuming, sound design, and stage management prompt books.

15%

Analysis of Live & Audiovisual Performances

Semiotic analysis, audience reception theory, live vs. recorded media dynamics (liveness, aura, presence), intermediality, multimedia stagecraft, directorial concept evaluation, and performance critique writing.

Preparing for the Madrid 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 based on LOMLOE criteria. Local questions are an English-language MCQ study adaptation of the official Madrid PAU paper, providing exhaustive coverage of dramatic theory, theatre history, acting techniques, stagecraft, and performance analysis.
  • Time limit: 90 minutes (1.5 hours)
  • Exam / certification fees: EUR 93.02 base registration fee for compulsory Access Phase in Community of Madrid (or ~11.63 € per optional subject in voluntary phase). 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

Madrid PAU Performing Arts II: Suggested Study Strategy

1Master Aristotelian poetics (mimesis, catharsis, hamartia, anagnorisis, peripeteia) and Tadeusz Kowzan's 13 theatrical sign codes across auditory and visual channels.
2Trace historical theatre spaces and performance conventions from the Greek theatron and Roman cavea to the Spanish Golden Age corral de comedias, proscenium arch, and black box.
3Compare key acting methodologies: Stanislavski's psychotechnical System (given circumstances, magic if, objectives), Meyerhold's Biomechanics (otkaz, posyl, stoika), and Lecoq's physical theatre.
4Study modern theatrical innovators: Brecht's Epic Theatre and alienation effect, Artaud's Theatre of Cruelty, Lorca's La Barraca, Valle-Inclán's Esperpento, Grotowski's Poor Theatre, and Brook's Empty Space.
5Analyze technical stagecraft and performance media: three-point stage lighting setups, scenographic types, diegetic vs. non-diegetic sound, and Auslander's concept of liveness vs. recorded audiovisual media.

Frequently Asked Questions

What is the format of the Madrid PAU Performing Arts II examination?

The exam is a 90-minute written standardized examination organized by the Madrid PAU Commission (UCM, UAM, UC3M, UPM, URJC, UAH). It features text/performance analysis, theatrical history commentary, and synthesis essay topics.

How is the final PAU mark calculated for university admission in Madrid?

The exam is graded on a 0–10 scale. A minimum mark of 4.0 is required in the Access Phase to calculate the overall university admission mark (60% Bachillerato average mark + 40% PAU Access Phase mark, requiring at least 5.0 overall).

What content blocks are prioritized in the Community of Madrid Bachillerato syllabus?

The syllabus covers five thematic blocks: Dramatic Theory & Performance Concepts (25%), History of Theatre & Stage Performance (25%), Acting Techniques & Stage Movement (20%), Scenography, Lighting & Stagecraft (15%), and Analysis of Live & Audiovisual Performances (15%).

Are these questions official Madrid PAU exam papers?

No. These 100 multiple-choice practice questions are an independent English-language study adaptation created by OpenExamPrep to help students master the official Community of Madrid 2º Bachillerato curriculum for PAU 2026.

What registration fees apply to the Madrid PAU exam?

The base registration fee for the compulsory Access Phase in the Community of Madrid is EUR 93.02. Optional subjects in the Voluntary Admission Phase cost approximately EUR 11.63 per subject, with fee exemptions available for qualifying categories.