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