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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. Heightening the drama of an action or scene by making it more significant or urgent.
Breath
Dramatic Function
Interaction
Raising the Stakes
2. 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
Truthful Performance
Raising the Stakes
Beat
Gravity
3. The acceptance of responsibility for your own development through systematic effort.
Transformation
Emotion Memory
Discipline
Breath
4. 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
Acting
Creative State
Discipline
5. Everything an actor does in a performance has to be _______ by the character's internal need.
Centeredness
Public Solitude
The Genesis of Acting
Justified
6. 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.
Personal Center
Action in a Play or Film Script
Objective
Centeredness
7. He developed a presentational and overtly theatrical style of acting.
Raising the Stakes
Acting
Vsevolod Meyerhold
Interaction
8. German word for power. The actor's physical and vocal tools.
Craft
Beat
Emotion Memory
Centeredness
9. The exchange of action and reaction.
Interaction
Public Solitude
Dramatic Function
Indicating
10. A person fully committed to an important objective.
Magic If
Interaction
Action in a Play or Film Script
In Action
11. Meyerhold. The fusion of mind and body; teaching the 'body how to think'.
Justified
Biomechanics
Empathy
Emotion Memory
12. Singular - Immediate - & Personal. (SIP)
Objectives should be...
Immediacy
Substitution
Objective
13. The dramatic ______ is what happens in the story - scene - or beat in the most fundamental sense.
Dual Consciousness
Raising the Stakes
Action in a Play or Film Script
Interaction
14. Finding in the character's situation some need or objective that has true personal significance.
Magic If
Substitution
Blocking
Dramatic Function
15. 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
Blocking
Truthful Performance
Constatin Stanislavski
16. The physical form of the action of the scene expressed in changing spatial relationships between the characters and their environment.
Blocking
Empathy
Justified
A play
17. The father of the modern actor.
Constatin Stanislavski
Stanislavski's Actor
The Genesis of Acting
Objectives should be...
18. An actor devoted to searching for the truth of human behavior. The craft of working 'from the inside out'.
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19. Showing the audience something about the character instead of simply doing what the character does.
Indicating
Craft
A play
Stanislavski's Actor
20. 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.
Personal Center
The Genesis of Acting
Creative State
Beat
21. The reduction of self-consciousness from the total engrossment in a role.
Immediacy
Demonstration
Public Solitude
A play
22. 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.'
Relaxation
Personal Center
Objective
Gravity
23. 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 -
The Genesis of Acting
Creative State
Vsevolod Meyerhold
1660s
24. 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.
In Action
Dual Consciousness
Creative State
Raising the Stakes
25. 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.
Personal Center
Aristotle
Empathy
The Genesis of Acting
26. _____ causes an _____ directed toward an __________
Demonstration
Beat
Creative State
Need; Action; Objective
27. Something a character lacks or wants that drives him to pursue an action to satisfy that lack or desire.
Justified
Action in a Play or Film Script
Aristotle
Need
28. Becoming the new version of yourself by needing and doing what the character needs and does.
Relaxation
Action (for an Actor)
Transformation
The Genesis of Acting
29. 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?
Magic If
Creative State
Dramatic Function
Blocking
30. Won an acting competition in Athens - Greece in 534 B.C. Considered the first actor.
Raising the Stakes
Thespis
Emotion Memory
Biomechanics
31. The great unifier of body - mind - and voice.
Magic If
The Method of Physical Actions
Personal Center
Breath
32. 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.
Acting
Public Solitude
Letting Go
Immediacy
33. Recalling a significant moment in your past to fit a character. WARNING: Must be appropriate for the character.
A play
Need; Action; Objective
Stanislavski's Actor
Emotion Memory
34. All parts of the actor--body - voice - and mind--work together in an integrated way.
Relaxation
Transformation
Wholeness
Need
35. The job a character was created to perform within a story.
Action (for an Actor)
Dramatic Function
Magic If
1660s
36. Immediate and urgent needs cause actions in the pursuit of objectives within given circumstances.
The Method of Physical Actions
A play
Magic If
Acting
37. 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
Breath
Dramatic Function
Action (for an Actor)
Substitution
38. 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
Letting Go
Personal Center
Substitution
Beat
39. Actresses began to appear on stage.
Personal Center
1660s
Creative State
Immediacy
40. 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.
Gravity
Demonstration
Empathy
Craft
41. 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.
Demonstration
1660s
In Action
Aristotle
42. Stanislavski's physical approach to acting.
Beat
The Method of Physical Actions
Creative State
Interaction
43. 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.
Relaxation
Thespis
Craft
Constatin Stanislavski
44. The event itself. It is not 'about' something.
A play
Public Solitude
Demonstration
Aristotle
45. 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.
Truthful Performance
Relaxation
Interaction
Action in a Play or Film Script