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Test your basic knowledge |
Acting
Start Test
Study First
Subject
:
performing-arts
Instructions:
Answer 45 questions in 15 minutes.
If you are not ready to take this test, you can
study here
.
Match each statement with the correct term.
Don't refresh. All questions and answers are randomly picked and ordered every time you load a test.
This is a study tool. The 3 wrong answers for each question are randomly chosen from answers to other questions. So, you might find at times the answers obvious, but you will see it re-enforces your understanding as you take the test each time.
1. The goal of a character pursues through action to satisfy a need. It is best identified using a transitive verb such as - 'to persuade him to give me a territory in town.'
Gravity
Objective
Raising the Stakes
Justified
2. The job a character was created to perform within a story.
Empathy
Beat
Interaction
Dramatic Function
3. Becoming the new version of yourself by needing and doing what the character needs and does.
Substitution
A play
Transformation
The Method of Physical Actions
4. Male choir groups began competing against one another reciting poems at religious festivals in Ancient Greece. Gradually the choir leader began to speak as an individual character and acting was born. As a second actor was added - dialogue emerged -
Beat
Justified
The Genesis of Acting
Vsevolod Meyerhold
5. An actor devoted to searching for the truth of human behavior. The craft of working 'from the inside out'.
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6. This occurs when: Everything the actor does as the character should grow directly out of the needs of the character - so that the 'inner' world of the character and the 'outer' world of the performance are unified.
Craft
Truthful Performance
Objective
1660s
7. The dramatic ______ is what happens in the story - scene - or beat in the most fundamental sense.
Action in a Play or Film Script
Gravity
Craft
Dual Consciousness
8. Three finger widths below your navel. The origin of breath and therefore your voice - as well as all large motions of the body. The undistorted source from which our work begins in order to develop the unique ways of using our bodies and voice requir
Objective
Wholeness
Discipline
Personal Center
9. All parts of the actor--body - voice - and mind--work together in an integrated way.
Relaxation
Discipline
Indicating
Wholeness
10. Meyerhold. The fusion of mind and body; teaching the 'body how to think'.
Blocking
Biomechanics
In Action
Stanislavski's Actor
11. Immediate and urgent needs cause actions in the pursuit of objectives within given circumstances.
Substitution
Creative State
Acting
Emotion Memory
12. A unit of action with it's own specific conflict and crisis. In each one a character has a single objective. They are formed of interactions and flow to create the underlying structure of a scene.
Beat
Personal Center
Truthful Performance
Objective
13. Relinquishing too much effort - chronic physical tension - a false voice - preconceptions about the work - personal fear - and most importantly who you already are.
Letting Go
Creative State
Wholeness
Truthful Performance
14. The great unifier of body - mind - and voice.
Breath
Blocking
The Method of Physical Actions
A play
15. Won an acting competition in Athens - Greece in 534 B.C. Considered the first actor.
Dual Consciousness
Personal Center
Thespis
Emotion Memory
16. The physical form of the action of the scene expressed in changing spatial relationships between the characters and their environment.
1660s
Emotion Memory
Blocking
Magic If
17. Actresses began to appear on stage.
Dual Consciousness
Magic If
1660s
Craft
18. The reduction of self-consciousness from the total engrossment in a role.
Dual Consciousness
Public Solitude
Stanislavski's Actor
Creative State
19. A person fully committed to an important objective.
A play
Action in a Play or Film Script
Emotion Memory
In Action
20. Showing the audience something about the character instead of simply doing what the character does.
In Action
Creative State
Indicating
Raising the Stakes
21. Something a character lacks or wants that drives him to pursue an action to satisfy that lack or desire.
Action in a Play or Film Script
Empathy
Craft
Need
22. The acceptance of responsibility for your own development through systematic effort.
Discipline
Aristotle
Acting
Action in a Play or Film Script
23. Recalling a significant moment in your past to fit a character. WARNING: Must be appropriate for the character.
Emotion Memory
Vsevolod Meyerhold
Justified
Empathy
24. German word for power. The actor's physical and vocal tools.
Vsevolod Meyerhold
Empathy
Stanislavski's Actor
Craft
25. Finding in the character's situation some need or objective that has true personal significance.
Substitution
Centeredness
Acting
Wholeness
26. _____ causes an _____ directed toward an __________
Indicating
Interaction
Need; Action; Objective
Empathy
27. Bertolt Brecht's idea that the actor does not become the character completely - but rather demonstrates the character's behavior for the audience while still expressing some attitude about it.
Truthful Performance
Need
The Genesis of Acting
Demonstration
28. He developed a presentational and overtly theatrical style of acting.
In Action
Stanislavski's Actor
Vsevolod Meyerhold
Objective
29. Everything an actor does in a performance has to be _______ by the character's internal need.
Justified
Centeredness
Aristotle
Biomechanics
30. The condition of relaxed playfulness that some psychologists say allows for maximum creativity. When the inner parent allows the inner child to come out and play.
Dual Consciousness
Creative State
Breath
Beat
31. Heightening the drama of an action or scene by making it more significant or urgent.
Aristotle
In Action
Raising the Stakes
Objective
32. Stanislavski's physical approach to acting.
The Method of Physical Actions
Justified
Beat
The Genesis of Acting
33. The ______ is what his or her character does to try to fulfill a need by attaining some objective. Stanislavski spoke of both spiritual (inner) and physical (outer). Note that speaking is one of the most common forms - in other words speaking is doin
Thespis
Aristotle
Action (for an Actor)
The Genesis of Acting
34. Our relationship to ______ implies internal states to the audience. Ex: Willie Loman with a bent back is hopeless and defeated and losing his battle with _____. In musical theatre it is convention that lovers actually defy _______ by skipping - as if
Relaxation
Objective
In Action
Gravity
35. The key to almost everything in acting. For an actor - _______ is not a reduction of energy but rather a freeing of energy and a readiness to react. AKA Restful Alertness. The first step in Letting Go. Awareness is at a high level.
Centeredness
Relaxation
Substitution
Demonstration
36. The father of the modern actor.
Demonstration
Emotion Memory
Action in a Play or Film Script
Constatin Stanislavski
37. The quality of an action or performance that makes it seem to be happening right now - before our eyes - as if for the first time.
Need
Beat
Immediacy
Raising the Stakes
38. Stanislavski's classic question. If I were in the situation of the character - and if I wanted what the character wants - what would I do?
Aristotle
Substitution
Wholeness
Magic If
39. Believed the qualities of a good play and a good actor should be: 1) Believable. 2) Connect with the audience in a personal way. AKA Empathy 3) Immediacy 4) Communicate 'truthfulness'. Present experiences in a meaningful way relative to the audience.
Dual Consciousness
Craft
Aristotle
Letting Go
40. The exchange of action and reaction.
The Genesis of Acting
Constatin Stanislavski
Objectives should be...
Interaction
41. The event itself. It is not 'about' something.
Dramatic Function
Truthful Performance
Constatin Stanislavski
A play
42. Although it has a literal - physical dimension - being in a state of________ implies a unified sense of self that allows actions to involve the whole body and be well focused.
Objectives should be...
Biomechanics
Centeredness
Raising the Stakes
43. The ability to function on more than one level of awareness at a time. Ex: A character pursuing his or her objective simultaneously observing and adjusting the performance for the sake of the spectators.
Transformation
Dual Consciousness
Indicating
Magic If
44. An actor's ability to put himself in the place of another person - both for purposes of observation and for applying the Magic If to a role. It is possible to empathize with someone without sympathizing with that person.
Beat
Need; Action; Objective
Justified
Empathy
45. Singular - Immediate - & Personal. (SIP)
Relaxation
Need
The Method of Physical Actions
Objectives should be...