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