Test your basic knowledge |

Acting Basics

Subject : performing-arts
Instructions:
  • Answer 50 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 ______ 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






2. The acceptance of responsibility for your own development through systematic effort.






3. Finding in the character's situation some need or objective that has true personal significance.






4. The great unifier of body - mind - and voice.






5. 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.






6. 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.






7. Actresses began to appear on stage.






8. Relinquishing too much effort - chronic physical tension - a false voice - preconceptions about the work - personal fear - and most importantly who you already are.






9. The job a character was created to perform within a story.






10. _____ causes an _____ directed toward an __________






11. All parts of the actor--body - voice - and mind--work together in an integrated way.






12. Showing the audience something about the character instead of simply doing what the character does.






13. The father of the modern actor.






14. Heightening the drama of an action or scene by making it more significant or urgent.






15. The event itself. It is not 'about' something.






16. Becoming the new version of yourself by needing and doing what the character needs and does.






17. 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.






18. _____ causes an _____ directed toward an __________






19. The great unifier of body - mind - and voice.






20. 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.






21. Heightening the drama of an action or scene by making it more significant or urgent.






22. He developed a presentational and overtly theatrical style of acting.






23. 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.






24. The reduction of self-consciousness from the total engrossment in a role.






25. Finding in the character's situation some need or objective that has true personal significance.






26. 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.






27. 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.






28. All parts of the actor--body - voice - and mind--work together in an integrated way.






29. 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.'






30. Won an acting competition in Athens - Greece in 534 B.C. Considered the first actor.






31. Something a character lacks or wants that drives him to pursue an action to satisfy that lack or desire.






32. The reduction of self-consciousness from the total engrossment in a role.






33. Everything an actor does in a performance has to be _______ by the character's internal need.






34. 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.






35. Singular - Immediate - & Personal. (SIP)






36. Stanislavski's physical approach to acting.






37. The exchange of action and reaction.






38. 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.






39. Recalling a significant moment in your past to fit a character. WARNING: Must be appropriate for the character.






40. Meyerhold. The fusion of mind and body; teaching the 'body how to think'.






41. 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 -






42. 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.






43. Showing the audience something about the character instead of simply doing what the character does.






44. Everything an actor does in a performance has to be _______ by the character's internal need.






45. The father of the modern actor.






46. Something a character lacks or wants that drives him to pursue an action to satisfy that lack or desire.






47. 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 -






48. The exchange of action and reaction.






49. 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.






50. A person fully committed to an important objective.