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Test your basic knowledge |
Acting
Start Test
Study First
Subject
:
performing-arts
Instructions:
Answer 45 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. 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.
Dual Consciousness
Demonstration
Truthful Performance
Beat
2. 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.
Transformation
Immediacy
Centeredness
Empathy
3. _____ causes an _____ directed toward an __________
Need; Action; Objective
Stanislavski's Actor
Dual Consciousness
Vsevolod Meyerhold
4. Heightening the drama of an action or scene by making it more significant or urgent.
Interaction
Public Solitude
Constatin Stanislavski
Raising the Stakes
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.
Acting
Indicating
Beat
Wholeness
6. The event itself. It is not 'about' something.
A play
Creative State
Dramatic Function
Objective
7. All parts of the actor--body - voice - and mind--work together in an integrated way.
Biomechanics
In Action
Dual Consciousness
Wholeness
8. Everything an actor does in a performance has to be _______ by the character's internal need.
Breath
Justified
Constatin Stanislavski
A play
9. 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
Breath
Objectives should be...
Need; Action; Objective
10. 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
Transformation
Personal Center
The Genesis of Acting
Need
11. The acceptance of responsibility for your own development through systematic effort.
Emotion Memory
Discipline
Dramatic Function
Blocking
12. The dramatic ______ is what happens in the story - scene - or beat in the most fundamental sense.
Creative State
Action in a Play or Film Script
Centeredness
Raising the Stakes
13. 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.
Empathy
The Method of Physical Actions
Acting
Discipline
14. The job a character was created to perform within a story.
Beat
Dramatic Function
Dual Consciousness
Breath
15. 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.
Raising the Stakes
The Method of Physical Actions
Centeredness
Beat
16. 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.
Interaction
Aristotle
Immediacy
Empathy
17. The physical form of the action of the scene expressed in changing spatial relationships between the characters and their environment.
Blocking
Letting Go
Gravity
Thespis
18. 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.
Relaxation
Blocking
Raising the Stakes
Constatin Stanislavski
19. Won an acting competition in Athens - Greece in 534 B.C. Considered the first actor.
1660s
Objectives should be...
Discipline
Thespis
20. Showing the audience something about the character instead of simply doing what the character does.
Indicating
Dual Consciousness
Breath
Raising the Stakes
21. 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
Empathy
Wholeness
Emotion Memory
22. The great unifier of body - mind - and voice.
Breath
Emotion Memory
Immediacy
Empathy
23. He developed a presentational and overtly theatrical style of acting.
Justified
Relaxation
Acting
Vsevolod Meyerhold
24. 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
Relaxation
Need
Immediacy
Gravity
25. 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
Blocking
Justified
Action (for an Actor)
Objectives should be...
26. Stanislavski's physical approach to acting.
Dramatic Function
The Method of Physical Actions
A play
Personal Center
27. 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.
Interaction
Demonstration
Gravity
Blocking
28. Becoming the new version of yourself by needing and doing what the character needs and does.
Transformation
Public Solitude
Beat
Raising the Stakes
29. 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?
Action in a Play or Film Script
Letting Go
Magic If
1660s
30. German word for power. The actor's physical and vocal tools.
Vsevolod Meyerhold
Emotion Memory
Craft
Empathy
31. The father of the modern actor.
Constatin Stanislavski
Gravity
Need
A play
32. Recalling a significant moment in your past to fit a character. WARNING: Must be appropriate for the character.
Raising the Stakes
Letting Go
Emotion Memory
Need
33. An actor devoted to searching for the truth of human behavior. The craft of working 'from the inside out'.
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34. The reduction of self-consciousness from the total engrossment in a role.
Public Solitude
Immediacy
The Genesis of Acting
Justified
35. Singular - Immediate - & Personal. (SIP)
Need; Action; Objective
Action (for an Actor)
In Action
Objectives should be...
36. The exchange of action and reaction.
Empathy
Transformation
Breath
Interaction
37. Immediate and urgent needs cause actions in the pursuit of objectives within given circumstances.
The Genesis of Acting
Acting
Need; Action; Objective
Truthful Performance
38. A person fully committed to an important objective.
Gravity
Wholeness
1660s
In Action
39. Something a character lacks or wants that drives him to pursue an action to satisfy that lack or desire.
The Method of Physical Actions
Thespis
Need
Substitution
40. Meyerhold. The fusion of mind and body; teaching the 'body how to think'.
Blocking
Need; Action; Objective
Objectives should be...
Biomechanics
41. 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.'
Dramatic Function
Blocking
Beat
Objective
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.
Public Solitude
Vsevolod Meyerhold
Empathy
Dual Consciousness
43. Actresses began to appear on stage.
Magic If
The Method of Physical Actions
Creative State
1660s
44. 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 -
Empathy
Demonstration
The Genesis of Acting
Objective
45. Finding in the character's situation some need or objective that has true personal significance.
The Genesis of Acting
Justified
Substitution
Dual Consciousness