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 father of the modern actor.






2. 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.






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






4. 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?






5. Stanislavski's physical approach to acting.






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






7. Stanislavski's physical approach to acting.






8. 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.






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






10. 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.'






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






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






13. 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.






14. 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.






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






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






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






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






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






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






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






22. 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.






23. 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






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






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






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






27. 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.






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






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






30. 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.






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






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






33. 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.






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


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






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






37. 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.






38. _____ causes an _____ directed toward an __________






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






40. Actresses began to appear on stage.






41. 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.






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






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






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






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






46. A person fully committed to an important objective.






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






48. 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.'






49. Actresses began to appear on stage.






50. The exchange of action and reaction.