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Test your basic knowledge |
Acting Basics
Start Test
Study First
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.
Objective
Constatin Stanislavski
A play
Raising the Stakes
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.
Discipline
Magic If
Breath
Dual Consciousness
3. Everything an actor does in a performance has to be _______ by the character's internal need.
Justified
Constatin Stanislavski
Dramatic Function
Wholeness
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?
1660s
Magic If
Objectives should be...
Centeredness
5. Stanislavski's physical approach to acting.
The Genesis of Acting
The Method of Physical Actions
Raising the Stakes
Aristotle
6. Heightening the drama of an action or scene by making it more significant or urgent.
Aristotle
Raising the Stakes
Relaxation
Transformation
7. Stanislavski's physical approach to acting.
The Method of Physical Actions
Justified
Stanislavski's Actor
Action (for an Actor)
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.
Demonstration
Wholeness
Aristotle
Objectives should be...
9. The job a character was created to perform within a story.
Empathy
Dramatic Function
Beat
Relaxation
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.'
Demonstration
Objective
Discipline
Craft
11. The job a character was created to perform within a story.
Dramatic Function
Stanislavski's Actor
Need; Action; Objective
Empathy
12. He developed a presentational and overtly theatrical style of acting.
Vsevolod Meyerhold
Transformation
Demonstration
Truthful Performance
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.
Constatin Stanislavski
Beat
Dramatic Function
Vsevolod Meyerhold
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.
Creative State
1660s
Empathy
Gravity
15. The acceptance of responsibility for your own development through systematic effort.
Discipline
Demonstration
Dual Consciousness
The Method of Physical Actions
16. The physical form of the action of the scene expressed in changing spatial relationships between the characters and their environment.
Dual Consciousness
Wholeness
Aristotle
Blocking
17. All parts of the actor--body - voice - and mind--work together in an integrated way.
Empathy
Constatin Stanislavski
Wholeness
Discipline
18. The physical form of the action of the scene expressed in changing spatial relationships between the characters and their environment.
Dramatic Function
Need; Action; Objective
Action (for an Actor)
Blocking
19. The dramatic ______ is what happens in the story - scene - or beat in the most fundamental sense.
Biomechanics
Personal Center
Action in a Play or Film Script
Wholeness
20. The great unifier of body - mind - and voice.
Substitution
Breath
Raising the Stakes
Acting
21. Something a character lacks or wants that drives him to pursue an action to satisfy that lack or desire.
Stanislavski's Actor
Justified
Justified
Need
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.
The Genesis of Acting
Truthful Performance
The Genesis of Acting
Action in a Play or Film Script
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
Constatin Stanislavski
Personal Center
Beat
Emotion Memory
24. Finding in the character's situation some need or objective that has true personal significance.
Objectives should be...
Discipline
Substitution
Justified
25. Relinquishing too much effort - chronic physical tension - a false voice - preconceptions about the work - personal fear - and most importantly who you already are.
Letting Go
Vsevolod Meyerhold
Creative State
Action (for an Actor)
26. Immediate and urgent needs cause actions in the pursuit of objectives within given circumstances.
Thespis
Acting
Letting Go
Interaction
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.
Emotion Memory
Creative State
Relaxation
Need
28. Something a character lacks or wants that drives him to pursue an action to satisfy that lack or desire.
Magic If
Need
A play
Constatin Stanislavski
29. The reduction of self-consciousness from the total engrossment in a role.
Public Solitude
Interaction
Thespis
Substitution
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.
Creative State
The Method of Physical Actions
Empathy
Blocking
31. Meyerhold. The fusion of mind and body; teaching the 'body how to think'.
Blocking
Biomechanics
A play
Gravity
32. Relinquishing too much effort - chronic physical tension - a false voice - preconceptions about the work - personal fear - and most importantly who you already are.
Magic If
Letting Go
The Genesis of Acting
Blocking
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.
In Action
1660s
Empathy
Objectives should be...
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'.
Biomechanics
Gravity
Justified
Objectives should be...
36. The acceptance of responsibility for your own development through systematic effort.
Discipline
Action (for an Actor)
Gravity
Letting Go
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.
Constatin Stanislavski
Discipline
Relaxation
Action (for an Actor)
38. _____ causes an _____ directed toward an __________
Action (for an Actor)
Relaxation
Public Solitude
Need; Action; Objective
39. Singular - Immediate - & Personal. (SIP)
Substitution
Objectives should be...
Justified
Biomechanics
40. Actresses began to appear on stage.
1660s
Discipline
Immediacy
Truthful Performance
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.
Stanislavski's Actor
Demonstration
Breath
Objective
42. Everything an actor does in a performance has to be _______ by the character's internal need.
Action in a Play or Film Script
Stanislavski's Actor
Justified
Dramatic Function
43. Showing the audience something about the character instead of simply doing what the character does.
Centeredness
Indicating
Stanislavski's Actor
Biomechanics
44. He developed a presentational and overtly theatrical style of acting.
Emotion Memory
In Action
Aristotle
Vsevolod Meyerhold
45. German word for power. The actor's physical and vocal tools.
Truthful Performance
Interaction
Relaxation
Craft
46. A person fully committed to an important objective.
Constatin Stanislavski
Action in a Play or Film Script
Demonstration
In Action
47. The dramatic ______ is what happens in the story - scene - or beat in the most fundamental sense.
Justified
Action in a Play or Film Script
Dual Consciousness
Public Solitude
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.'
Emotion Memory
Need
Beat
Objective
49. Actresses began to appear on stage.
Creative State
Craft
1660s
Emotion Memory
50. The exchange of action and reaction.
Gravity
Indicating
Interaction
Acting