Off-off-Broadway theaters emerged in the late 1950s as a rebellion against mainstream Broadway theaters in New York, freeing artists to create productions that were more experimental than typical Broadway shows. One such artist was playwright María Irene Fornés. Working with off-off Broadway theaters enabled Fornés not only to direct her own plays but also to direct them exactly as she intended them to be staged, regardless of how strange the results might have seemed to audiences accustomed to Broadway shows. In this way, Fornés ______

Question

Which choice most logically completes the text?
Choose 1 answer:
Choose 1 answer:
(Choice A) would have been more famous if she had created plays that were mainstream instead of experimental.
A
would have been more famous if she had created plays that were mainstream instead of experimental.
(Choice B) recognized that staging an off-off-Broadway play was more complicated than staging a Broadway play.
B
recognized that staging an off-off-Broadway play was more complicated than staging a Broadway play.
(Choice C) wrote plays that would have been too expensive to produce if someone else had directed the production.
C
wrote plays that would have been too expensive to produce if someone else had directed the production.
(Choice D) illustrates the artistic opportunity offered by off-off Broadway theaters.
D
illustrates the artistic opportunity offered by off-off Broadway theaters.

Answer 1

The choice that most logically completes the text is:

(Choice D) illustrates the artistic opportunity offered by off-off Broadway theaters.

This choice aligns with the idea that working in off-off-Broadway theaters allowed Fornés the freedom to experiment and direct her plays in unique ways, highlighting the creative opportunities available in that environment compared to mainstream Broadway.