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






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






3. 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






4. 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.






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






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






7. _____ causes an _____ directed toward an __________






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






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






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






11. 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.






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






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






14. 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.'






15. 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.






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






17. 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 -






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






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






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






21. 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






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






23. Stanislavski's physical approach to acting.






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






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






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






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






28. 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.






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






30. 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.






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






32. 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.






33. 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 -






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






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






36. 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.'






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






38. 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.






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






40. 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.






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






42. 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






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






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






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






46. Stanislavski's physical approach to acting.






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






48. 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.






49. The exchange of action and reaction.






50. 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.