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