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. 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






2. The dramatic ______ is what happens in the story - scene - or beat in the most fundamental sense.






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






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






5. _____ causes an _____ directed toward an __________






6. Stanislavski's physical approach to acting.






7. 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.






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






9. 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.






10. 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






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






12. The physical form of the action of the scene expressed in changing spatial relationships between the characters and their environment.






13. 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.'






14. The father of the modern actor.






15. An actor devoted to searching for the truth of human behavior. The craft of working 'from the inside out'.






16. 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.






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






18. 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?






19. Immediate and urgent needs cause actions in the pursuit of objectives within given circumstances.






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






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






22. The dramatic ______ is what happens in the story - scene - or beat in the most fundamental sense.






23. Actresses began to appear on stage.






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






25. German word for power. The actor's physical and vocal tools.






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






27. 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






28. 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.






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






30. German word for power. The actor's physical and vocal tools.






31. 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 -






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






33. 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.






34. 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.






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






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






37. The exchange of action and reaction.






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






39. Stanislavski's physical approach to acting.






40. 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.






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






42. 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.






43. 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.






44. 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.






45. 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






46. 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






47. The physical form of the action of the scene expressed in changing spatial relationships between the characters and their environment.






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






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






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