Costume sourcing choices directly influence both authenticity and budget. Pulling uses existing wardrobe stock or rentals, so it’s cheaper and faster because there’s no new sewing, patterning, or fitting work. But you’re limited to what already exists, which can mean the pieces don’t perfectly match the character’s era, fabric, or silhouette, potentially reducing authenticity. Building involves creating garments from patterns and chosen fabric, which gives you precise design, correct silhouette, and era-appropriate materials, plus better fit, all of which enhances authenticity. However, this route requires more time for pattern work, sourcing, and multiple fittings, and it increases costs for fabric, labor, and construction. So, the statement that pulls is cheaper and quicker but may limit authenticity, while building offers exact design and higher authenticity at a higher price and longer timeline, best captures the trade-off. The other options—saying pulling is always more authentic or always more expensive, or that there’s no impact on authenticity or budget—don’t reflect the real, variable nature of costume production.

A box set is a stage design that creates the interior of a room by enclosing the performance area with three fixed walls (plus a ceiling). The fourth wall is the open, visible side facing the audience, who acts as that missing wall. This arrangement lets actors move through doors and windows within a continuous, realistic space, which is the hallmark of box sets and fosters naturalistic staging. Why the other ideas don’t fit: a ground plan is just a schematic drawing of a space’s layout, not a physical set; masking curtains are used to hide backstage areas, not to enclose a room; a circular platform is a movable, standalone element used for height or focal shifts, not to create an interior room illusion.

Soyinka’s impact on global theatre comes from elevating African storytelling onto the world stage through a powerful blend of Yoruba cultural material with contemporary drama, and by making his work accessible to wide audiences. He wrote in English as well as Yoruba, which allowed his plays to travel beyond Nigeria and be read, studied, and performed internationally while still carrying distinctly African voices and themes. His works reached audiences around the world, and his Nobel Prize in Literature brought sustained attention to African theatre, encouraging translations, scholarly work, and cross-border collaborations. He engaged with international theatre communities, touring, directing, and participating in festivals, which fostered exchange and mutual influence rather than isolation. In this way, he helped bring African theatre to international audiences. The other statements don’t fit because he did not limit himself to Yoruba alone, he did not reject international collaborations, and he did not focus only on local Nigerian audiences; his career consistently connected African theatre with audiences and artists worldwide.

A prompt book is the stage manager's primary tool for running rehearsals and performances. It’s a script annotated with blocking notes, cue sheets for lighting and sound, prop and stage cues, and timing details. The stage manager uses it to track every change, call cues, and coordinate with the lighting, sound, and stage crews. In rehearsal, they update the book as blocking or timing evolves. In performance, they rely on it to cue lights and sound and to prompt or assist performers as needed, keeping the show running smoothly. The lead actor uses the script for lines, the director guides the artistic vision, and the producer handles budget and logistics, but the actual running of the show from cue to cue sits with the stage manager.