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Theater Critic: The play La Finestrina, now at Central Theater, was written in Italy in the eighteenth century. The director claims that this production is as similar to the original production as is possible in a modern theater. Although the actor who plays Harlequin the clown gives a performance very reminiscent of the twentieth‐century American comedian

Groucho Marx, Marx’s comic style was very much within the comic acting tradition that had

begun in sixteenth‐century Italy.

The considerations given best serve as part of an argument that

A. modern audiences would find it hard to tolerate certain characteristics of a historically accurate performance of an eighteenth‐century play

B. Groucho Marx once performed the part of the character Harlequin in La Finestrina

C. in the United States the training of actors in the twentieth century is based on principles that do not differ radically from those that underlay the training of actors in eighteenth‐century Italy

D. the performance of the actor who plays Harlequin in La Finestrina does not serve as evidence against the director’s claim

E. the director of La Finestrina must have advised the actor who plays Harlequin to model his performance on comic performances of Groucho Marx

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Argument Co

nstruction

Situation The director of the local production of La Finestrina says it is as similar to the original production as is possible in a modern theater. The actor playing Harlequin gives a performance reminiscent of Groucho Marx, whose comic

style falls within an acting tradition which began in sixteenth-century Italy.

Reasoning For which of the options would the consideration given best serve as an argument? The actor’s performance was reminiscent of someone who fell

within a tradition going back to sixteenth-century Italy. The play was written, and therefore was likely first performed, in eighteenth-century Italy. All of this suggests that there could be a similarity between the performances of Harlequin in the local production and in the original production. While the

two performances might have been quite dissimilar, there is nothing here that supports that.

A. Regardless of how plausible this option might be on its own merits, the passage provides no support for it because the passage provides no information about the

characteristics of a historically accurate performance of an eighteenth-century play.

B. The passage neither says this nor implies it.

C. The passage says nothing about the training of actors, so this option would be supported by the passage only in a very roundabout, indirect way.

D. Correct. This is the option that the considerations most support.

E. That the performance reminded the theater critic of Groucho Marx hardly shows that the similarity was intentional, let alone that it was at the director’s instruction.